Lesson 1
Let us begin with a group of 15 kanji, all of which you probably knew before you ever cracked the covers of this book. Each kanji has been provided with a single key word to represent the basic meaning. Some of these characters will also serve later as primitive elements to help form other kanji, when they will take a meaning different from the meaning they have as kanji. Although it is not necessary at this stage to memorize the special primitive meaning of these characters, a special remark preceded by a star (*) has been appended to alert you to the change in meaning.
The number of strokes of each character is given in square brackets at the end of each explanation, followed by the stroke-by-stroke order of writing. It cannot be stressed enough how important it is to learn to write each kanji in its proper order. As easy as these first characters may seem, study them all with a pad and pencil to get into the habit from the very start.
Finally, note that each key word has been carefully chosen and should not be tampered with in any way if you want to avoid confusion later on.
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6 |
six |
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六 |
The primitives here are top hat and animal legs. Once again, we glide over them until later. [4] |
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丗 丘 丙 丞 |
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7 |
seven |
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七 |
As with four, we shall postpone learning the primitive elements that make up this character. Note how the general principle we just learned in the preceding frame applies to the writing of the character for five. [4] Note that the first stroke “cuts” through the second. This distinguishes seven from the character for spoon 匕 (frame 476), in which the horizontal stroke stops short. [2] |
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両 並 |
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|
As a primitive, this form takes on the meaning of i.e., “cut” into little pieces, consistent both with the way the character is written and with its association with the kanji for 切 to be learned in a later lesson (frame 89). |
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9 |
nine |
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九 |
If you take care to remember the stroke order of this kanji, you will not have trouble later keeping it distinct from the kanji for power 力 (frame 922). [2] |
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中丱 |
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|
As a primitive, we shall use this kanji to mean or simply The meaning, of course, is derived from the players who make up a team. |
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10 |
ten |
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十 |
Turn this character 45º either way and you have the X used for the Roman numeral ten. [2] |
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串 丶 |
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|
As a primitive, this character sometimes keeps its meaning of and sometimes signifies this latter derived from the kanji for 針 (frame 292). Since the primitive is used in the kanji itself, there is no need to worry about confusing the two. In fact, we shall be following this procedure regularly. |
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12 |
day |
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日 |
This kanji is intended to be a pictograph of the sun. Recalling what we said in the previous frame about round forms, it is easy to detect the circle and the big smile that characterize our simplest drawings of the sun—like those yellow badges with the words, “Have a nice day!” [4] |
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丼 丿 乂 乃 |
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|
Used as a primitive, this kanji can mean or or a This latter meaning, incidentally, derives from an old character outside the standard list meaning something like “sayeth” and written almost exactly the same, except that the stroke in the middle does not touch the right side (曰, frame 620). |
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14 |
rice field |
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田 |
Another pictograph, this kanji looks like a bird’s-eye view of a rice field divided into four plots. Be careful when writing this character to get the order of the strokes correct. You will find that it follows perfectly the principle stated in frame 4. [5] |
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乏 乕 乖 乗 乘 |
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|
When used as a primitive element, the meaning of is most common, but now and again it will take the meaning of from the fact that it looks a bit like that tangle of gray matter nestled under our skulls. |
Although only 9 of the 15 kanji treated in this lesson are formally listed as primitives—the elements that join together to make up other kanji—some of the others may also take on that function from time to time, only not with enough frequency to merit learning them as separate primitive elements and attaching special meanings to them. In other words, whenever one of the kanji already learned is used in another kanji, it will retain its key-word meaning unless we have assigned it a special primitive meaning.
Lesson 2
In this lesson we learn what a “primitive element” is by using the first 15 characters as pieces that can be fitted together to form new kanji—19 of them to be exact. Whenever the primitive meaning differs from the key-word meaning, you may want to go back to the original frame to refresh your memory. From now on, though, you should learn both the key word and the primitive meaning of new kanji as they appear. An Index of primitive elements has been added at the end of the book.
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18 |
risk |
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冒 |
Remember when you were young and your mother told you never to look directly into the sun for fear you might burn out your eyes? Probably you were foolish enough to risk a quick glance once or twice; but just as probably, you passed that bit of folk wisdom on to someone else as you grew older. Here, too, the kanji that has a sun above and an eye right below looking up at it has the meaning of risk (see frame 12). [9] |
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井 亘 亙 些 亡 |
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20 |
bright |
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明 |
Among nature’s bright lights, there are two that the biblical myth has God set in the sky: the sun to rule over the day and the moon to rule the night. Each of them has come to represent one of the common connotations of this key word: the sun, the bright insight of the clear thinker, and the moon, the bright intuition of the poet and the seer (see frame 13). [8] |
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亶 仂 |
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21 |
chant |
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唱 |
This one is easy! You have one mouth making no noise (the choirmaster) and two mouths with wagging tongues (the minimum for a chorus). So think of the key word, chant, as monastery singing and the kanji is yours forever (see frame 11). [11] |
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仇 从 他 |
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22 |
sparkle |
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晶 |
What else can the word sparkle suggest if not a diamond? And if you’ve ever held a diamond up to the light, you will have noticed how every facet of it becomes like a miniature sun. This kanji is a picture of a tiny sun in three places (that is, “everywhere”), to give the sense of something that sparkles on all sides. Just like a diamond. In writing the primitive elements three times, note again how the rule for writing given in frame 4 holds true not only for the strokes in each individual element but also for the disposition of the elements in the character as a whole. [12] |
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仝 代 仮 |
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24 |
spine |
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呂 |
This character is rather like a picture of two of the vertebrae in the spine linked by a single stroke. [7] |
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伉 伊 伍 伎 伏 伐 休 |
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26 |
early |
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早 |
This kanji is actually a picture of the first flower of the day, which we shall, in defiance of botanical science, call the sun-flower, since it begins with the element for sun and is held up on a stem with leaves (the pictographic representation of the final two strokes). This time, however, we shall ignore the pictograph and imagine sunflowers with needles for stems, which can be plucked and used to darn your socks. The sense of early is easily remembered if one thinks of the sunflower as the early riser in the garden, because the sun, showing favoritism towards its namesake, shines on it before all the others (see frame 10). [6] |
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伽 佃 但 |
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As a primitive element, this kanji takes the meaning of which was used to make the abstract key word more graphic. |
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29 |
stomach |
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胃 |
You will need to refer back to frames 13 and 14 here for the special meaning of the two primitive elements that make up this character: flesh (part of the body) and brain. What the kanji says, if you look at it, is that the part of the body that keeps the brain in working order is the stomach. To keep the elements in proper order, when you write this kanji think of the brain as being “held up” by the flesh. [9] |
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佞 佳 |
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30 |
nightbreak |
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旦 |
While we normally refer to the start of the day as “daybreak,” Japanese commonly refers to it as the “opening up of night” into day. Hence the choice of this rather odd key word, nightbreak. The single stroke at the bottom represents the floor (have a peek again at frame 1) or the horizon over which the sun is poking its head. [5] |
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佼 使 |
We end this lesson with two final pictographic characters that happen to be among the easiest to recognize for their form, but among the most difficult to write. We introduce them here to run an early test on whether or not you have been paying close attention to the stroke order of the kanji you have been learning.
Lesson 3
After Lesson 2, you should now have some idea of how an apparently complex and difficult kanji can be broken down into simple elements that make remembering it a great deal easier. After completing this lesson you should have a clearer idea of how the course is laid out. We merely add a couple of primitive elements to the kanji we already know and see how many new kanji we can form—in this case, 20 in all—and when we run out, add more primitives. And so on, until there are no kanji left.
In Lesson 3 you will also be introduced to primitive elements that are not themselves kanji but only used to construct other kanji. These are marked with a star [*] instead of a number. There is no need to make a special effort to memorize them. The sheer frequency with which most of them show up should make remembering them automatic.
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37 |
white |
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白 |
The color white is a mixture of all the primary colors, both for pigments and for light, as we see when a prism breaks up the rays of the sun. Hence, a single drop of sun spells white. [5] |
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保 俟 信 俣 俤 |
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|
As a primitive, this character can either retain its meaning of or take the more graphic meaning of a or This latter stems from the fact that it appears at the top of the kanji for which we shall get to later (frame 2091). |
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38 |
hundred |
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百 |
The Japanese refer to a person’s 99th birthday as a “white year” because white is the kanji you are left with if you subtract one from a hundred. [6] |
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俥 修 俯 俳 俵 俶 |
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42 |
measuring box |
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升 |
This is the character for the little wooden box that the Japanese use for measuring things, as well as for drinking saké out of. Simply imagine the outside as spiked with a thousand sharp needles, and the quaint little measuring box becomes a drinker’s nightmare! Be very careful when you write this character not to confuse it with the writing of thousand. The reason for the difference gives us a chance to clarify another general principle of writing that supersedes the one we mentioned in frame 4: when a single stroke runs vertically through the middle of a character, it is written last. [4] |
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倖 候 倚 倞 |
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45 |
measurement |
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寸 |
This kanji actually stood for a small measurement used prior to the metric system, a bit over an inch in length, and from there acquired the sense of measurement. In the old system, it was one-tenth of a shaku (whose kanji we shall meet in frame 1151). The picture, appropriately, represents one drop of a ten (with a hook!). [3] |
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倬 倭 倶 |
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|
As a primitive, we shall use this to mean or . There is no need to devise a story to remember this, since the primitive will appear so often you would have to struggle hard not to remember it. |
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46 |
elbow |
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肘 |
Instead of the familiar “grease” we usually associate with the elbow of someone hard at work, the kanji gives us a part of the body that has been glued to its task. [7] |
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魴 " |
We have already seen one example of how to form primitives from other primitives, when we formed the nightbreak out of sun and floor (frame 30). Let us take two more examples of this procedure right away, so that we can do so from now on without having to draw any particular attention to the fact.
Lesson 4
At the risk of going a little bit too fast, we are now going to introduce five new primitive elements, all of which are very easy to remember, either because of their frequency or because of their shape. But remember: there is no reason to study the primitives by themselves. They are being presented systematically to make their learning automatic.
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* |
animal legs |
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|
Like the four that follow it, this primitive is not a kanji in its own right, though it is said to be derived from 八, the character we learned earlier for . It always comes at the bottom of the primitive to which it is related. It can mean the legs of any kind of animal: from a grizzly bear’s paws to an octopus’s tentacles to the spindle shanks of a spider. (The one animal not allowed is our friend homo sapiens, whose legs figure in the next frame.) Even where the term “legs” will apply metaphorically to the legs of pieces of furniture, it is best to keep the association with animal legs. (You may review frame 6 here.) [2] |
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乾 亀 |
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* |
human legs |
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儿 |
Notice how these human legs are somewhat shapelier and more highly evolved than those of the so-called “lower animals.” The one on the left, drawn first, is straight; while the one on the right bends gracefully and ends with a hook. Though they are not likely to suggest the legs of any human you know, they do have something of the look of someone out for a stroll, especially if you compare them to . If you had any trouble with the kanji for the number , now would be the time to return to it (frame 4). [2] |
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乱 乳 |
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* |
wind |
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几 |
This primitive gets its name from the full kanji for the wind (frame 563). It is called an “enclosure” because other elements are often drawn in the middle of it, though it can also be compressed together so that there is no room for anything in it. The main thing to remember when writing this element is that the second stroke bends outwards, like a gust of wind blown from above. In addition to the basic meaning of windwe shall also have occasion to use the image of a weather vane. The derivation is obvious. [2] |
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僑 僕 |
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57 |
pop song |
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唄 |
There is a lot of money to be made if one’s songs are “popular.” This is depicted here as a stream of clams spewing out of the mouth of someone performing a pop song. [10] |
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鮃 " |
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64 |
page |
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頁 |
What we have to do here is turn a shellfish into a page of a book. The one at the top tells us that we only get a rather short book, in fact a book of only one page. Imagine a title printed on the shell of an oyster, let us say “Pearl of Wisdom,” and then open the quaint book to its one and only page, on which you find a single, radiant drop of wisdom, one of the masterpiece poems of nature. [9] |
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兤 入 全 兩 兪 八 公 六 兮 |
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|
As a primitive, this kanji takes the unrelated meaning of a (preferably one detached from its body), derived from the character for (frame 1549). |
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66 |
mediocre |
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凡 |
While we refer to something insignificant as a “drop in the bucket,” the kanji for mediocre suggests the image of a “drop in the wind.” [3] |
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墮 墲 墳 |
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72 |
ladle |
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勺 |
If you want to bind up drops of anything—water, soup, lemonade—you use something to scoop these drops up, which is what we call a ladle. See the last drop left inside the ladle? [3] |
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働 像 |
Lesson 5
That is about all we can do with the pieces we have accumulated so far, but as we add each new primitive element to those we already know, the number of kanji we will be able to form will increase by leaps and bounds.
If we were to step outside of the standard list, we would see that there are still a handful of more characters we could make with the pieces at hand, though none of them is very useful
While many of the stories you have learned in the previous lessons are actually more complex than the majority you will learn in the later chapters, they are the first stories you have learned, and for that reason are not likely to cause you much difficulty. By now, however, you may be wondering just how to go about reviewing what you have learned. Obviously it won’t do simply to flip through the pages you have already studied, because the order already gives them away. One, rather outdated, method is to design for yourself a set of flash cards that you can add to as you go through the book. Another is to take advantage of an iPad app called “Remembering the Kanji” (produced by Mirai LLP) that has been created especially for the purpose.
Whatever method you use, a note about reviewing. You have probably gotten yourself into the habit of writing the character several times when memorizing it, whether you need to or not; and then writing it more times for kanji that you have trouble remembering. There is really no need to write the kanji more than once, unless you have trouble with the stroke order and want to get a better “feel” for it. If a kanji causes you trouble, spend time clarifying the imagery of its story. Simply rewriting the character will reinforce any latent suspicions you still have that the “tried and true method” of learning by repeating is the only reliable one—the very bias we are trying to uproot. Also, when you review, review only from the key word to the kanji, not the other way around. The reasons for this, along with further notes on reviewing, will come later.
We are now ready to return to work, adding a few new primitives one by one, and seeing what new characters they allow us to form. We shall cover 24 new kanji in this lesson.
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79 |
true |
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真 |
Here again we meet the composite element, eye of the needle, which here combines with tool to give us a measure of what is true and what is not. [10] |
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制 刷 剃 削 |
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87 |
sword |
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刀 |
Although this kanji no longer looks very much like a sword, it does have some resemblance to the handle of the sword. This is to our advantage, in that it helps us make a distinction between two primitive elements based on this kanji. [2] |
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動 勗 |
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|
In the form of the kanji, this primitive means a . When it appears to the right of another element, it is commonly stretched out like this 刂 and takes the sense of a great and flashing , a meaning it gets from a character we shall learn later (frame 1801). |
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88 |
blade |
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刃 |
Think of using a dagger as a razor blade, and it shouldn’t be hard to imagine cutting yourself. See the little drop of blood clinging to the blade? [3] |
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勘 務 勛 |
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89 |
cut |
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切 |
To the right we see the dagger and next to it the number seven whose primitive meaning we decided would be diced (frame 7). It is hard to think of cutting anything with a knife without imagining one of those skillful Japanese chefs. Only let us say that he has had too much to drink at a party, grabs a dagger lying on the mantelpiece and starts dicing up everything in sight, starting with the hors d’oeuvres and going on to the furniture and the carpets…. [4] |
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勝 勞 募 勠 |
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91 |
shining |
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昭 |
Let the key word suggest shining one’s shoes, the purpose of which is to seduce the sun down on them for all to see. [9] |
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勹 匁 |
Lesson 6
The last group of primitives took us pretty far, and probably forced you to pay more attention to the workings of imagination. In this lesson we shall concentrate on primitives that have to do with people.
As you were reminded in frame 80, even those kanji that are given special meanings as primitives may also retain their key word meaning when used as primitives. Although this may sound confusing, in fact it turns out to be convenient for making stories and, in addition, helps to reinforce the original meaning of the character.
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101 |
complete |
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了 |
Learn this character by returning to frame 99 and the image given there. The only difference is that the “arms” have been left off (actually, only tucked inside). Thus a child with its arms wrapped up into the back-sack is the picture of a job successfully completed. [2] |
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厠 厥 |
Lesson 7
In this lesson we turn to primitive elements having to do with quantity. We will also introduce a form known as a “roof,” a sort of overhead “enclosure” that comes in a variety of shapes. But let us begin slowly and not get ahead of ourselves, for it is only after you have mastered the simple forms that the apparently impenetrable complexities of later primitives will dissolve. The primitives we give here will immediately suggest others, on the basis of what we have already learned. Hence the somewhat haphazard order among the frames of this lesson.
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112 |
large |
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大 |
Here we have a simple pictograph of a person, taking up the space of an entire character and giving it the sense of large. It should not be too hard to locate the two legs and outstretched arms. [3] |
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合 吉 吊 |
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|
As a primitive, we need a different meaning, since the element representing the human person will come up later. Therefore, this shape will become a or, if you prefer, a . In frame 253 we will explain why this choice was made. |
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* |
cliff |
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厂 |
This primitive means precisely what it looks like: a steep cliff. You can almost see someone standing at the top looking down into the abyss below. [2] |
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吋 同 |
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122 |
sand |
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砂 |
Good sand for beaches has few or no stones in it. That means that all of us whose feet have been spoiled by too much time in shoes don’t have to watch our step as we cavort about. [9] |
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咸 品 |
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123 |
jealous |
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妬 |
It should not be hard to leap from the key word to the image of a woman who is jealous of the rock that another woman is sporting on the third finger of her left hand. [8] |
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厰 |
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129 |
sniff |
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H |
You have seen those scratch-’n-sniff advertisements for perfumes. This one is for a mouthwash that replaces one stinking odor with another. [12] |
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鮒 鮓 |
Lesson 8
Four basic elements, it was once believed, make up the things of our universe: earth, wind, fire, and water. We have already met the element for wind, and now we shall introduce the others, one by one, in a somewhat longer than usual lesson.
Fortunately for our imaginative memories, these suggestive and concrete primitives play a large role in the construction of the kanji, and will help us create some vivid pictures to untangle some of the complex jumbles of strokes that follow.
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141 |
gland |
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腺 |
Dig into your flesh and pull out a lymph gland. Now give it a squeeze and watch a spring of lymph spout out of it. [13] |
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鮖 |
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144 |
swim |
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泳 |
The primitive to the left, you will recall from frame 137, represents water. To the right, we see the kanji for eternity. Knowing how much children like swimming, what could be a better image of eternal bliss than an endless expanse of water to swim in without a care in the world? [8] |
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在 圻 |
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151 |
grains of sand |
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沙 |
We have already learned the kanji for sand (frame 122), so let’s use it to remember the character for grains of sand. Instead of the “few stones” that make for nice sand, here we have a few drops of water, one for each grain of sand—a beach in perfect ecological balance. [7] |
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鮠 |
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152 |
tide |
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潮 |
Before we get to explaining this character, take a look at it and see if you can figure out the primitive elements on your own…. On the left is the water—that much is easy. On the right we have only one primitive, the kanji for morning learned back in frame 53. See how an apparently complex kanji falls apart neatly into manageable pieces? To get the meaning of the key word tide, just think of it in connection with the character for eventide that we learned back in frame 115. Here we have the morning-tide, its complement. By the way, if you missed the question about the number of primitives, it is probably because you forgot what we said earlier about kanji becoming primitives, independently of the pieces that make them up. As a rule, look for the largest kanji you can write and proceed from there to primitives stranded on their own. [15] |
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垳 埜 |
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157 |
river |
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河 |
The character in this frame represents a step up from the stream we met in frame 134; it is a full-sized river. The water to the left tells us what we are dealing with, and the can at the right tells us that our “little engine that could” has now become amphibious and is chugging down the Mighty Mississip’ like a regular riverboat. [8] |
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塰 境 |
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158 |
overnight |
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泊 |
When you stop at an inn for an overnight rest, all you expect is a bit of water for a wash and a set of clean white sheets to wrap your weary bones in. [8] |
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増 墫 |
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160 |
fathom |
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測 |
Connoting the measurement of the depth of water, the key word fathom begins with the water primitive. To its right, we see the compound-primitive for rule (frame 92) which we learned in the sense of a “ruler” or “measure.” Hence, when we rule water we fathom it. What could be simpler? But be careful; its simplicity is deceptive. Be sure to picture yourself fathoming a body of water several hundred feet deep by using a ruler of gargantuan proportions. [12] |
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壘 壮 |
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161 |
soil |
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土 |
I don’t like it any more than you do, but this kanji is not the pictograph it is trumped up to be: a mound of soil piled on the ground. All I can recommend is that you memorize it as it is. Anyway, it will be occurring with such frequency that you have almost no chance of forgetting it, even if you try. [3] |
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壯 声 壱 |
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|
As a primitive, the sense of is extended to that of because of its connection with the kanji for the same (frame 554). From there it also takes the added meanings of and . |
Lesson 9
Although the study of the four basic elements undertaken in the last lesson brought us a lot of new characters—51 in all—we have only scratched the surface as far as water, earth, wind, and fire are concerned. Perhaps by now it is clear why I said at the beginning of this lesson that we are lucky that they appear so frequently. The range of images they suggest is almost endless.
In this chapter our focus will be on a few new “roof” and “enclosure” primitives. But first, a primitive-kanji that we might have included in the last group but omitted so as not to be distracted from the four elements. With just that one element we can pick up no less than 7 new kanji with no trouble at all.
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185 |
ri |
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里 |
That’s right—a ri. Don’t bother looking it up in your English dictionary; it’s a Japanese word for measuring distances. One ri is about 4 kilometers or 2.5 miles. The kanji depicts how the measure came to be used. Atop we see the rice field, and below the element for land. Those four sections you see in the rice field (and which we made mention of when first we introduced the character in frame 14) are actually measurements of land, much the same as farm-sections in the United States have given us the notion of a “country mile.” The land division based on the size of a rice field is called a ri. [7] |
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字 存 孚 孛 孜 孝 孟 |
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|
To get a more concrete primitive meaning for this kanji, we shall refer to it as a , a meaning deriving from the kanji for which we will meet in Lesson 12. |
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186 |
black |
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黒 |
Like most things electrical, a computer, too, can overheat. Just imagine flames pouring out of it and charring the keyboard, the monitor, and your desk a sooty black color. [11] |
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孵 學 |
Before going any further, we might pause a moment to look at precisely where the primitive elements were placed in the kanji of the last frame: the ground to the left and the computer to the right. Neither of these is an absolutely fixed position. The kanji for spit (frame 162), for instance, puts ground on the right, and that for plains (frame 1722) will put the computer on the left. While there is no reason to bother memorizing any “rules,” a quick glance through a few general guidelines may help. Use them if they help; if not, simply adjust the story for a problem character in such a way as to help you remember the position of the elements relative to one another.
In any case, here are the guidelines that follow from the kanji treated up to this point:
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199 |
perfect |
|
完 |
In order not to confuse the key word perfect with others nearly synonymous in meaning, pull it apart to have a look at its native Latin roots. Per-factum suggests something so “thoroughly made or done” that nothing more needs to be added to it. Now look at the kanji, which does something similar. We see a house that has been made perfectly from its beginnings in the foundation to the roof on the top. Now return to frame 101 and make sure not to confuse this key word with the kanji for complete. [7] |
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履 山 |
Lesson 10
Of the several primitive elements that have to do with plants and grasses, we introduce two of the most common in this lesson: trees and flowers. In most cases, as we shall see, their presence in a “strong” position (in this case, to the left and at the top, respectively) helps give a meaning to the kanji. Where this is not the case, we shall do our best to make it so.
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207 |
tree |
|
木 |
Here we see a pictograph of a tree, showing the main trunk in the long vertical stroke and the boughs in the long horizontal stroke. The final two strokes sweep down in both directions to indicate the roots. Although it may look similar at first sight to the kanji for water (frame 137), the order in which it is written is completely different and this affects its final appearance. [4] |
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嵒 嵓 嵜 嵩 |
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|
As a primitive, this kanji can mean or . When the last two strokes are detached from the trunk (), we shall change its meaning to , or |
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208 |
grove |
|
林 |
Learn this frame in connection with the next one. A grove is a small cluster of trees. Hence the simple reduplication of the kanji for tree gives us the grove. [8] |
|
嶢 嶬 嶮 嶷 嶼 |
|
209 |
forest |
|
森 |
A forest is a large expanse of trees, or “trees, trees everywhere,” to adopt the expression we used back in frames 22 and 23. [12] |
|
巍 巖 巡 |
|
221 |
town |
|
村 |
The character for village was associated with rice fields (frame 96). That for town, a step up on the evolutionary path to cities, shows a circle of trees glued together to measure off the confines of a town. [7] |
|
廝 廡 |
|
230 |
extremity |
|
末 |
This character is best learned in connection with that of the previous frame. The first stroke shows a branch that is longer than the main branch, indicating that the tree has reached the extremity of its growth, so that its branches stop spreading and start drooping downwards. Be sure to keep this imagery in mind, to avoid confusing this key word with synonyms that will appear later. [5] |
|
彭 彰 影 彳 彷 |
|
obscure |
|
|
昧 |
The most obscure ideas are those that the sun of reason has not yet dawned on. Be sure to give the sun a professorial demeanor, complete with spectacles and a pipe. [9] |
|
鮭 |
|
234 |
younger sister |
|
妹 |
The younger sister in the family is the woman in the family who, like the newest branch in a tree, is not yet old enough or mature enough to do everything the elder sister can do (see frame 442). [8] |
|
得 御 |
|
242 |
dilute |
|
薄 |
Take a good look at this kanji: the “strong” element here is really the flower, not the water as you might have thought on first glance. To the right is the acupuncturist from frame 48. Taking the key word to connote diluting the vital humors of the body, we can imagine our acupuncturist performing his task with flowers in place of needles, and using their hollow stems to pipe water into the body of the patient. [16] |
|
恒 恚 恪 |
|
247 |
livelihood |
|
暮 |
Imagine that you have chosen the occupation of the keeper of a graveyard and spend your days tending to other’s deadhood in order to make your means of livelihood. [14] |
|
意 |
Lesson 11
Now that we have made our way through nearly 250 characters, it is time to pause and consider how you are getting on with the method introduced in this book. While this lesson will be a short one (only 15 new kanji) you might want to spend some time reviewing your progress in the light of the remarks that follow. In them I have tried to draw out the main principles that have been woven into the fabric of the text from frame to frame and lesson to lesson. Perhaps the easiest way to do this is to single out some of the typical problems that can arise:
If you can remember the key word when you see the kanji, but have trouble remembering the kanji when you have only the key word to go on…
Probably you did not take seriously the advice about studying these stories with a pad and pencil. If you try to shortcut the process by merely learning to recognize the characters for their meaning without worrying about their writing, you will find that you have missed one bird with two stones, when you could have bagged two with one. Let me repeat: study only from key word to kanji; the reverse will take care of itself.
If you find yourself having to go back to a kanji, once you have written it, to make corrections or additions…
My guess is that you are asking your visual memory to do the work that belongs to imaginative memory. After Lesson 12, you will be given more leeway to create your own images and stories, so it is important that you nip this problem in the bud before going any further. A small step in the wrong direction on a journey of 2,200 kanji will land you in deep trouble in no time. Here are the steps you should be following each time you come to a new frame:
These are basically the same steps you were led through in reading the stories, even though they were not laid out so clearly before. If you think back to the kanji that “worked” best for you, you will find that each of these steps was accomplished perfectly. And if you look back at the ones you are forgetting, you should also be able to locate which step you skipped over. In reviewing, these same steps should be followed, with the only clue to set the imagination in motion being the key word.
If you find you are forgetting the relative position of the elements in a kanji…
Before all else, go back and reread the frame for that character to see if there were any helpful hints or explanatory notes. If not, return to the frame where the particular primitives were first introduced to see if there is any clue there. And if this is not the problem, then, taking care not to add any new words or focal points to your story (since they might end up being elements later on), rethink the story in such a way that the image for each element actually takes the position it has in the kanji itself. This should not happen often, but when it does, it is worth spending a few minutes to get things sorted out.
If you are confusing one kanji with another…
Take a careful look at the two stories. Perhaps you have made one or the other of them so vivid that it has attracted extraneous elements to itself that make the two kanji images fuse into one. Or again, it may be that you did not pay sufficient attention to the advice about clarifying a single connotation for the key word.
Whether or not you have had all or only a few of these problems, now is the time to review the first 10 lessons keeping an eye out for them. Put aside any schedule you may have set yourself until you have those lessons down perfectly, that is, until you can run through all 6 steps outlined above for every character, without a hitch. The most important thing in this review is not really to see whether you are remembering the characters, but to learn how to locate problems and deal with them.
One final note before you close the book and begin running your review. Everyone’s imagination works differently. Each has its own gifts and its own defects. The more you pay attention to how you imagine things, the more likely you are to find out what works best for you—and more importantly, why. The one thing you must distrust, if the system outlined in this book is to work for you, is your ability to remember kanji just as they are, without doing any work on them. Once you start making exceptions for characters you “know” or “have no trouble with” or “don’t need to run through all the steps with,” you are headed for a frustration that will take you a great deal of trouble to dig yourself out of. In other words, if you start using the method only as a “crutch” to help you only with the kanji you have trouble with, you will quickly be limping along worse than ever. What we are offering here is not a crutch, but a different way to walk.
That said, let us pick up where we left off. In this lesson we turn from primitive elements having to do with plants to those having to do with animals, 4 of them in all.
|
256 |
sort of thing |
|
然 |
The key word in this frame refers to a suffix that gives the word before it an adjectival quality; hence we refer to it as “sort of thing.” Reverting to the time when dog was more widely eaten than it is today (see frame 127), we see here a large cauldron boiling over an oven flame with the flesh of a chihuahua being thrown into the whole concoction to make it into a “hot-diggity, dog-diggity” sort of thing. [12] |
|
懈 應 懊 懋 懣 懶 |
|
257 |
reed |
|
荻 |
You’ve no doubt seen cattails, those swamp reeds with a furry flower to them like the tail of a cat. This might just turn out to be a good way to get rid of a troublesome pack of wild dogs: lure them into a swamp of these reeds with the cattail flowers and then set fire to the swamp. Take care to focus on the flower rather than the “cattail” to avoid confusion with frame 259 below. [10] |
|
懺 懼 懽 懾 戉 |
|
261 |
special |
|
特 |
Despite the strong phonetic similarity, there will be no problem keeping the key word special distinct from the character we met earlier for specialty (frame 47), since the latter has immediate connotations lacking in this kanji. Anyway, we shall let the key word of this frame refer to something in a special class all its own—like the sacred cows of India that wander freely without fear of being butchered and ground into hamburger. Even though the practice is originally a Hindu one, and in any case no longer followed among the majority of Japanese Buddhist monks, the Buddha’s refusal to take the life of any sentient being makes it only fitting that the cows should be placed on the sacred grounds of a Buddhist temple in this kanji. [10] |
|
戸 戻 房 所 才 |
Lesson 12
In this the final lesson of Part One we introduce the useful compound primitive for metals and the elements needed to form it, in addition to picking up a number of stray characters that have fallen by the wayside.
|
* |
umbrella |
|
|
The actual kanji on which this primitive meaning umbrella is based will not show up until frame 1103. Think of it as a large and brightly-colored beach umbrella. If you compare this with frame 8, you will notice how the two strokes touch here, while the kanji for eight would leave a gaping leak in the top. [2] |
|
抑 抒 |
|
267 |
tea |
|
茶 |
As everyone knows, tea is made from tea leaves. But the tea plant itself has its own flowers, which can be quite beautiful and add a special flavor to the tea, as the Chinese found out already over 4,598 years ago. With the image of a terrace of flowering tea bushes in mind, picture a number of brightly painted and very l-o-n-g wooden poles (frame 207) placed here and there in their midst, with a tiny umbrella at the top to shade the delicate-tasting tea flowers. [9] |
|
抹 押 抽 拂 担 拆 |
|
268 |
spinal column |
|
脊 |
The spinal column has sprouted out of the flesh of your back into an umbrella that you always have with you, rain or shine. The pair of 2s on each side are the “ribs” of the umbrella. Take care to keep your image of the key word distinct from that for spine (frame 24). [10] |
|
鰺 鰻 鰾 鱆 |
|
* |
meeting |
|
|
This compound primitive depicts a meeting as a massive gathering of people under The full kanji from which this derives will be introduced later in frame 814. The important thing here is to picture the scene just described and associate it with the word meeting. [3] |
|
拈 拉 拊 |
|
276 |
toy |
|
玩 |
If, at some aboriginal level, Toys R Us, then the archetypal ball must have been there at the beginning, before evolving into beach balls, ping-pong balls, rugby balls, and marbles. [8] |
|
鮱 |
|
283 |
logic |
|
理 |
We first referred to this character back in frame 185, to which you might want to return to have a peek. The image of logic we are given is something like a central jewel in a computer, like the jewels in old clocks that keep them running smoothly. Try to picture yourself making your way through all the rams and roms and approaching this shining jewel, a chorus of voices and a blast of trumpets in the background heralding the great seat of all-knowing logic. [11] |
|
揩 損 |
|
285 |
pour |
|
注 |
Picture pouring water from a lighted candlestick. What could be more ridiculous, or simpler, as a way to recall this kanji? [8] |
|
搖 搬 |
|
291 |
angling |
|
釣 |
The character we learned for fishing (frame 184) refers to the professional, net-casting industry, while the angling of this character refers to the sport. The odd thing is that your angling rod is a golden ladle which you are using to scoop goldfish out of a river. [11] |
|
攤 攬 |
|
292 |
needle |
|
針 |
In frame 10 we referred ahead to this full character from which the primitive for needle (on the right) derives. Since we already expect that needles are made of metal, let us picture a set of solid gold darning needles to complete the kanji. [10] |
|
攻 政 |
With that, we come to the end of Part One. Before going on to Part Two, it would be a good idea to return now to the Introduction and read it once again. The explanation of the method we are following here and the rationale behind it should make more sense now.
By this time, too, you should be familiar with the use of all three the Indexes. If not, take a few minutes to go through them one by one, reading the introduction to each and taking note of how they are arranged. As the number of characters you have learned increases, you will find them useful in navigating your way back to kanji or primitive elements that need reviewing in their original context.
Lesson 13
By this time, if you have been following along methodically frame by frame, you may find yourself growing impatient at the thought of having to read through more than 2,000 of these little stories. You probably want to move at a quicker pace and in your own way. Take heart, for that is precisely what we are going to start doing in Part Two. But if you happen to be one of those people who are perfectly content to have someone else do all the work for them, then brace yourself for the task that lies ahead.
We begin the weaning process by abbreviating the stories into simple plots, leaving it up to you to patch together the necessary details in a manner similar to what we did in Part One. As mentioned in the Introduction, the purpose of the longer stories was to impress on you the importance of recreating a complete picture in imagination, and to insure that you did not merely try to associate words with other words but with images. The same holds true for the kanji that remain.
Before setting out on our way again, a word of caution is in order. Left to its own, your imagination will automatically tend to add elements and see connections that could prove counterproductive in the long run. For example, you might think it perfectly innocent and admissible to alter the primitive for old to old man, or that for cliff to cave. In fact, these changes would be confusing when you meet the kanji and primitives with those meanings later on. You would return to the earlier kanji and find that everything had become one great confusion.
You may have experienced this problem already when you decided to alter a story to suit your own associations. That should help you appreciate how hard it is to wipe out a story once you have learned it, particularly a vivid one. To protect yourself against this, stick faithfully to the key words as they are given, and try not to move beyond the range of primitive meanings listed. Where such confusion can be anticipated, a longer story will be presented as a protective measure, but you will have to take care of the rest.
We start out Part Two with a group of 26 characters having to do with travel, and the primitives that accompany them: a road, a pair of walking legs, and a car.
|
* |
road |
|
⻌ |
The road envisioned here is a road for traffic, or a path or walkway. The natural sweep of these three simple strokes should be easy to remember, as it appears so often. [3] |
|
旡 既 日 |
|
296 |
guidance |
|
導 |
When we accept someone’s guidance, we permit ourselves to be glued to a certain road or way of doing something, and try to “stick” to it. [15] |
|
昞 昤 |
|
297 |
crossing |
|
辻 |
Take the first two strokes in the sense we gave them back in frame 10, as the pictograph of a cross, and set it on a road to create a “crossing.” [5] |
|
昧 昮 |
|
300 |
urge |
|
迫 |
To urge someone to do something, you make the way as appealing as possible, perhaps even whitewashing it a bit. [8] |
|
晟 晥 |
|
301 |
escape |
|
逃 |
When escaping from something or someone, one always feels as if one is not going fast enough, like a turtle on an expressway. (Since the turtle is on the road and not on the left, it can keep its full kanji shape as given in frame 250.) [9] |
|
景 晴 |
|
303 |
patrol |
|
巡 |
A virtual flood of motorcycle police washing down a road is this kanji’s image for a patrol. [6] |
|
暇 暈 暉 暖 |
|
308 |
metaphor |
|
I |
People who try to sound literary often end up butchering the language. Here we see a meeting of butchers whose mouths are producing the metaphors. [12] |
|
鮹 鮻 |
|
309 |
in front |
|
前 |
We waited to introduce this character until now, even though we had all the elements, because it helps to reinforce the odd kanji of the last frame. Picture the butcher hacking away with his knife at a slab of meat on his table with a pair of ram’s horns placed in front of him (or on his head, if you prefer). There is no need to worry about confusing this kanji with that for before (frame 263), since it will not appear as a primitive in any other character used in this book. [9] |
|
最 會 月 朎 朔 |
|
310 |
roast |
|
煎 |
Think of roasting the guest of honor at a party—literally, in front of an oven-fire. [13] |
|
鯀 |
|
313 |
graft |
|
賂 |
To those who believe in the inevitability of graft in government, everything has a price—or as this character has it, to each office its outlay of shells. [13] |
|
鰯 |
|
315 |
guest |
|
客 |
When you are a guest in a courteous town, each household has its own way of welcoming you, and each house becomes your home. [9] |
|
杙 杢 |
|
317 |
summer |
|
夏 |
In the summer, fatigued by the heat, your head hangs down nearly as far as your walking legs, or rather, your “dragging legs.” Note how the walking legs (instead of “animal legs”) are the only thing that distinguishes this character from that for page (frame 64). [10] |
|
杣 杤 杯 杲 |
|
318 |
dispose |
|
処 |
Both the stretching out of the walking legs and the little bit of wind tucked in on the right suggest using one’s legs to kick something out of the way, or dispose of it. [5] |
|
枡 枢 枦 枩 枯 |
|
319 |
twig |
|
条 |
Geppetto made walking legs for his little Pinocchio from two twigs of a tree, giving him a set of “twiggy” shanks. [7] |
|
枳 枴 架 枷 枸 枹 枻 |
|
320 |
fall |
|
落 |
When water falls, it splishes and splashes; when flower petals fall, they float gently in the breeze. To each thing its own way of falling. [12] |
|
柄 柎 柘 |
Lesson 14
We may now go a step further in our streamlining, this time in the stroke order of the kanji. From here on in, only the order in which the composite primitive elements are written will be indicated; if you are not sure of the writing of any of the particulars in a given character, you will have to hunt it down yourself. Index ii should help. New primitives and unusual writings will be spelled out as before, however. At any rate, you should always count the strokes of the character when you learn it, and check your results against the number given in square brackets in each frame.
The next group of primitives, around which this lesson is designed, have to do with lids and headgear.
|
* |
crown |
|
⼍ |
This pictograph of a simple crown is distinguished from the only by the absence of the chimney (the first at the top). It can be used for all the principal connotations of the word crown. We will meet the full character from which this element is derived later on, in frame 326. [2] |
|
柚 柝 |
|
321 |
superfluous |
|
冗 |
Picture a weather vane beneath a regal crown, spinning round and round. It is not only superfluous but makes a perfect ass out of the one who wears it. [4] |
|
柞 柢 |
|
323 |
army |
|
軍 |
The crowned vehicle depicted here is a “chariot,” symbol of an army. [9] |
|
柯 柱 |
|
|
Used as a primitive this kanji means only . |
|
325 |
carry |
|
運 |
A row of “sweet” chariots “swinging low” to our roads is a sure sign that the Lord is “comin’ for to carry” someone home. [12] |
|
柵 査 |
|
326 |
crown |
|
冠 |
By having the crown pass from one age to the next, a people keeps itself glued to its beginnings. [9] |
|
柾 柿 栁 |
|
* |
top hat |
|
亠 |
The broad rim and tall top of the top hat is pictured graphically here in these two simple strokes. At this point, by the way, you can revert back to frame 6. If you have had any trouble with that character, you now have the requisite elements to make a story: Six suggests the number of an ant’s ; just set a tall silk on the crawling creature and you have your character. [2] |
|
栃 栂 |
|
328 |
pit |
|
坑 |
A whirlwind begins to dig its way into the soil like a drill until it makes a deep pit. [7] |
|
棚 棟 |
|
329 |
tall |
|
高 |
Recalling an image from frame 195, first see the mouth under the extraterrestrial’s glass hood, and then the mouth under the top hat of one of his mates who has tried on the strange earthling’s headgear only to find that it makes him look much, much taller than everyone else. [10] |
|
桁 桂 桃 |
|
|
As a primitive, this character keeps its sense of and its position at the top of other primitives, but its writing is abbreviated to the first 5 strokes: . |
|
334 |
capital |
|
京 |
When we think of a capital city today we think of tall skyscrapers dwarfing the endless swarms of little folk scurrying here and there about their business. [8] |
|
根 格 |
|
335 |
refreshing |
|
涼 |
Since few things are as refreshing on a warm day as a cool shower (the water), here we picture an entire capital city treating itself to one, and in full view of everyone. [11] |
|
栽 桀 |
|
336 |
scenery |
|
景 |
Scenery is depicted as a sun rising over a capital city, which is a bit of natural scenery the city dwellers themselves rarely get to see! [12] |
|
棋 棍 |
|
337 |
whale |
|
鯨 |
The whale swallows a whole school of fish, who turn their new abode into a proper little fish-capital. [19] |
|
棏 棒 |
|
* |
lidded crock |
|
|
over the of a container gives us a piece of clay pottery with its lid. Behold the lidded crock. [6] |
|
棔 棕 |
|
338 |
cottage |
|
舎 |
A lidded crock with an umbrella overhead gives us a mixture of the modern and the nostalgic in this design for a cottage. [8] |
|
棗 棘 |
|
340 |
week |
|
週 |
Picture a circular road with 7 markers on it, one for each day of the week. When you have walked one complete lap on this road, you shall have completed one week. [11] |
|
桙 桜 |
|
343 |
robust |
|
壮 |
Robust is seen as a turtle turned samurai. [6] |
|
桶 桷 |
|
344 |
villa |
|
荘 |
The villa pictured here is filled with exotic flowers at every turn, and has a pair of turtle-samurai standing before its gates. [9] |
|
桾 桿 梁 |
|
345 |
sell |
|
売 |
A samurai, out of a job, is going door-to-door selling little windup crowns with human legs that run around on the floor looking like headless monarchs. [7] |
|
梃 梅 梍 |
Lesson 15
In this lesson we consider a group of primitives associated one way or another with schooling. Be sure to give your stories enough time to come to life in imagination, because your images will need a lot more vividness than these brief “plots” allow for. You know that you are not giving enough time when you find yourself memorizing definitions rather than playing with images.
|
346 |
study |
|
学 |
The child in the little red schoolhouse is there for one reason only: to study. Anyone who has gone through the schooling system knows well enough that study is one thing and learning quite another again. In the kanji, too, the character for learning (frame 616) has nothing to do with the schoolhouse. [8] |
|
條 梟 |
|
348 |
flourish |
|
栄 |
The botanical connotations of the word flourish (to bud and burst into bloom, much as a tree does) are part of the ideal of the schoolhouse as well. [9] |
|
梦 梧 |
|
349 |
write |
|
書 |
The sage talks rapidly with his tongue wagging in his mouth, while the brush of the scribe runs apace to write down the master’s words. [10] |
|
梵 梶 梹 梺 梼 棄 棊 |
|
352 |
aggression |
|
攻 |
The special craft of successful taskmasters is their ability to remain constantly on the aggressive, never allowing their underlings a moment to ponder a counter-aggression. [7] |
|
棲 棹 |
|
353 |
failure |
|
敗 |
The taskmaster is acknowledging the failure of a clam to make the grade in some marine school or other. [11] |
|
椀 椁 |
|
354 |
a sheet of |
|
枚 |
English counts thin, flat objects, like bed linen and paper, in sheets. The kanji does this with a taskmaster whipping a tree into producing sheets against its will. [8] |
|
椋 椌 |
|
355 |
happenstance |
|
故 |
Call it fate or providence or plain old Lady Luck, happenstance is the oldest taskmaster we know. It nearly always has its way. [9] |
|
検 椡 |
|
359 |
plot |
|
計 |
Words and a meter’s needle combine to form the sense of plot: to talk over plans and to calculate a course of action. [9] |
|
楠 楡 |
|
360 |
elucidate |
|
詮 |
Think of elucidating as presenting something in whole words, as distinct from broken, fragmented sentences. [13] |
|
鯊 |
|
361 |
prison |
|
獄 |
Although we did not make note of it at the time, the kanji for dog is also a low-grade term for a spy. And later (frame 1517) we will meet another association of criminals with dogs. The prison here depicts a pack of wild dogs (the long-timers and hardened criminals) into which the poor little chihuahua (first-offender) has been cast. The only thing he has to protect himself against the pack are his shrill and frightened words. [14] |
|
楢 楨 楪 |
|
362 |
revise |
|
訂 |
After completing the first draft, you revise it by nailing down your words and “hammering” them into shape. [9] |
|
楫 業 |
|
363 |
obituary |
|
訃 |
The words of this obituary work like a magic wand, conjuring up the deceased. [9] |
|
鯏 |
|
364 |
chastise |
|
討 |
Words spoken to chastise us stick to us like glue in a way no other words can. [10] |
|
楮 楯 |
|
366 |
imperial edict |
|
詔 |
The imperial edict, spoken with the force of unquestionable law, is made up of words intended to seduce the masses—be it through fear or respect—to follow obediently. [12] |
|
極 楷 |
|
368 |
tale |
|
話 |
That the words of the tongue should come to mean a tale is clear from the etymology: a tale is something “talked,” not something read from a book. [13] |
|
楼 楽 |
|
369 |
recitation |
|
詠 |
Listening to the words of poets reciting their poetry is like being transported for a moment into eternity where the rules of everyday life have been suspended. [12] |
|
楾 榁 |
|
372 |
read |
|
読 |
In the age of advertising, most words we read are out to sell some product or point of view. [14] |
|
榔 榕 |
|
373 |
tune |
|
調 |
A complete tune is composed not only of a succession of notes but also of one lap of the words that go with it. [15] |
|
榘 榛 |
|
374 |
discuss |
|
談 |
In almost every attempt to discuss an issue, the fervor of one’s convictions comes to the surface and creates an inflammation of words (if you will, the “cuss” in discuss). [15] |
|
榜 榠 |
|
375 |
consent |
|
諾 |
The words of the young do not have legal validity unless backed up by “parental consent.” [15] |
|
榧 榮 |
|
376 |
rebuke |
|
諭 |
The stern tone of a rebuke is seen here in the image of words spoken at a meeting of butchers (see frame 307) waving their choppers at one another and “cutting one another down” as only butchers can. [16] |
|
榱 榲 |
Lesson 16
In this short lesson of 19 characters we come to an interesting cluster of primitive elements—unique among all those we have met or will meet throughout this book—built up step by step from one element. Be sure to study this lesson as a unit in order to appreciate the similarities and differences of the various elements, which will appear frequently later on.
|
* |
quiver |
|
肥 |
This primitive is easy to remember as depicting something used to bring all one’s together into handy place: the quiver. [4] |
|
槓 様 槙 槝 |
|
379 |
ii (two) |
|
弐 |
We use the Roman numeral ii here to stress that this kanji is an older form of the kanji for two. Think of two arrows in a quiver, standing up like the numeral II. [6] |
|
槞 槢 槧 槨 槫 槭 |
|
381 |
burglar |
|
賊 |
From a burglar’s point of view, a fiesta is an occasion to take out the old lockpicking needle and break into the unattended safe filled with the family shells (the old form of money, as we saw in frames 84 and 206). [13] |
|
槿 樀 樁 樂 |
|
383 |
load |
|
載 |
One loads bales on a wagon or cart in preparation for the great Hay Ride that follows the Thanksgiving dinner each year. [13] |
|
樣 権 横 |
|
385 |
relatives |
|
戚 |
If you think of a parade of particularly disagreeable relatives, it should not be hard to imagine them as large bodies with little pea-brains above. [11] |
|
鯑 鯒 鯔 鯖 |
|
387 |
castle |
|
城 |
In this frame, we see a mound of dirt that is being turned into a castle (the way you may have done as a child playing on the beach). [9] |
|
樽 橄 |
|
388 |
sincerity |
|
誠 |
The sure sign of sincerity is that one’s mere words are turned into deeds. [13] |
|
橆 橇 |
|
389 |
intimidate |
|
威 |
Here we see a march of women demonstrating on behalf of equal rights, something extremely intimidating to the male chauvinist population. [9] |
|
橢 橦 橫 |
|
390 |
destroy |
|
滅 |
Picture a march of flames demonstrating against the Fire Department for their right to destroy, but being doused with water by the police riot squads. [13] |
|
橲 橳 橸 橾 |
|
394 |
coin |
|
銭 |
Those special gold-colored tokens minted each year for the Mardi Gras and thrown into the crowds from people on the floats give us the kanji for coins. [14] |
|
檄 檍 |
|
395 |
shallow |
|
浅 |
An entourage of floats going from one town to the next must always seek a shallow place to cross the water. Try to picture what happens if they don’t. [9] |
|
檎 檐 |
Lesson 17
Because of the rather special character of that last group of primitives (7 in all), it might be a good idea not to rush too quickly into this lesson until you are sure you have them all learned and fitted out with good images. Now we will take up another set of primitives built up from a common base, though fewer in number and lacking the similarity of meaning we saw in the last lesson.
|
397 |
walk |
|
歩 |
Footprints that follow one another a few at a time indicate walking. [8] |
|
檣 檪 檬 檮 檳 檸 檻 櫁 |
|
398 |
ford |
|
渉 |
To ford a body of water means to walk across it. [11] |
|
櫂 櫃 櫑 |
|
399 |
repeatedly |
|
頻 |
The image of something occurring repeatedly, over and over again, is of having one’s head walked on. [17] |
|
櫓 櫚 |
|
400 |
agreement |
|
肯 |
Seeing footprints on someone’s flesh indicates a rather brutal way of having secured that person’s agreement. [8] |
|
櫪 櫺 |
|
402 |
curriculum |
|
歴 |
That same grove of trees from frame 226 shows up in the character for curriculum (as in a record of one’s life or academic achievements, the curriculum vitae). Instead of the grove making its way slowly through the surface of the cliff as before, here we see it stopped, much the same as a curriculum vitae calls a halt to the calendar and talks only about the past. [14] |
|
欝 欟 欠 |
|
408 |
determine |
|
定 |
Determination, in the sense of settling on a certain course of action, is likened here to mending one’s house. [8] |
|
此 武 |
|
409 |
lock |
|
錠 |
Metal of itself doesn’t lock. It needs to be so determined by a locksmith. Now make a concrete image of that. [16] |
|
歩 歪 |
|
411 |
transcend |
|
超 |
When one is running after something, the goal that seduces one is said to transcend the seeker. [12] |
|
歴 歸 |
|
415 |
topic |
|
題 |
In many kinds of research, one can find information on a given topic only if the headings are prepared just so. [18] |
|
殆 殉 |
|
416 |
dike |
|
堤 |
A dike is a successful bit of engineering only if the amount of earth piled up is measured just so for the height and pressure of the water it is meant to contain. [12] |
|
殊 残 |
|
417 |
build |
|
建 |
To construct a building, you first draw a set of plans (the writing brush) and then s-t-r-e-t-c-h your drawing out to scale in reality. [9] |
|
殘 殞 |
|
418 |
key |
|
鍵 |
The golden key you have been presented by the mayor gives you access to all the buildings in the city. [17] |
|
鯣 |
|
421 |
cornerstone |
|
礎 |
This character depicts a cornerstone as a stone set at the end of a wildlife preserve (the “zoo in the grove”). [18] |
|
殷 殺 殻 |
Lesson 18
The three groups of characters brought together in this rather long lesson are clustered around three sets of primitives dealing respectively with cloth and garments, weather, and postures.
|
424 |
tailor |
|
裁 |
You might think here of garments that have been specially tailored for Thanksgiving celebrations to look like traditional Pilgrim garb. [12] |
|
毓 比 毖 毘 毛 |
|
429 |
distant |
|
遠 |
A distant figure on the road is such a blur it looks like a lidded crock wearing a silk scarf. [13] |
|
氣 氤 水 |
|
432 |
towel |
|
巾 |
This character depicts a bolt of cloth wrapped around a pole. From there it gets its meaning of a towel [3]. |
|
汎 汏 |
|
433 |
linen |
|
布 |
The maid, towels by her side, distributes the linen. [5] |
|
汐 汕 汗 |
|
434 |
sail |
|
帆 |
A sail made of a towel makes a mediocre vessel. [6] |
|
汜 汚 |
|
435 |
hanging scroll |
|
幅 |
A towel owned by the wealthiest tycoon in the world is made into a hanging scroll after his death and auctioned off to the highest bidder. [12] |
|
汜 汝 |
|
436 |
cap |
|
帽 |
Because of the risk involved (of getting the sun in one’s eyes), one puts together a makeshift cap out of a dirty old towel. [12] |
|
汞 江 池 |
|
437 |
curtain |
|
幕 |
A dirty towel draped over the entrance to the old graveyard is painted to look like the curtain of death that leads to the other world. [13] |
|
汢 汨 |
|
438 |
canopy |
|
幌 |
A large towel stretched overhead with only a few of the sun’s rays breaking through represents a canopy over one’s bed. [13] |
|
濆 濔 濕 |
|
439 |
brocade |
|
錦 |
A strip of white towel and some scraps of metal have the makings of a primitive kind of brocade. [16] |
|
汪 汯 汰 |
|
440 |
market |
|
市 |
Dressed in nothing but a bath towel and top hat, one sets off to the marketplace in search of a bargain or two. [5] |
|
汲 汳 決 汽 汾 |
|
442 |
elder sister |
|
姉 |
Of all the women of the family, it is the elder sister who has the duty to go to market to do the shopping. [8] |
|
沁 沂 |
|
443 |
lungs |
|
肺 |
One is surprised, strolling through the market, to find among the flesh hung out for sale a slab marked: lungs. [9] |
|
沃 沆 |
|
* |
apron |
|
|
The that has edges jagged like little is the cook’s apron. [5] |
|
沈 沌 |
|
444 |
sash |
|
帯 |
The part of the apron where one finds the buckle (represented pictorially by the first 5 strokes) is on the sash. [10] |
|
沍 沐 沒 沓 沖 沙 沚 |
|
* |
belt |
|
⼌ |
This primitive, clearly derived from that for , is always hung on another vertical stroke, and takes the meaning of a belt. [2] |
|
沢 沫 |
|
446 |
thorn |
|
刺 |
Thorns grow on a bush here that has wrapped itself around a tree like a belt, cutting into the poor tree like little sabers. [8] |
|
沮 沱 河 沸 油 沺 治 沼 |
|
448 |
made in… |
|
製 |
A label indicating that a garment was made in U.S.A. or Taiwan or Japan is itself a symbol for the systematization of the garment industry. [14] |
|
泌 泓 |
|
* |
rising cloud |
|
云 |
This primitive is meant to depict in graphic fashion a cloud of something rising upwards, like vapor or smoke or dust. [4] |
|
法 泗 泙 泚 |
|
449 |
revolve |
|
転 |
As the wheels of the car revolve, they kick up small rising clouds of dust and debris behind them. [11] |
|
泛 泝 |
|
450 |
technique |
|
芸 |
The secret technique of making a rising cloud of smoke turn into a bouquet of flowers is shown here. [7] |
|
泡 波 |
|
453 |
cloudy weather |
|
曇 |
We refer to days when the sun is covered by the clouds as cloudy weather. [16] |
|
洌 洒 |
|
456 |
winter |
|
冬 |
Walking legs slipping on the ice are a sure sign of winter. [5] |
|
洩 洪 |
|
457 |
heavens |
|
天 |
This character is meant to be a pictograph of a great man, said to represent the Lord of the Heavens. (You may, of course, use the elements ceiling and St. Bernard instead.) [4] |
|
洫 洲 洳 洵 |
|
|
The primitive can mean either the of eternal bliss or the general term for sky, the . Pay special attention to the fact that in its primitive form the first stroke is written right to left, rather like the first stroke of (frame 40), rather than left to right, giving us: 夭From the next character, we shall give it the primitive meaning of a |
|
458 |
bewitched |
|
妖 |
You are bewitched by a woman who is, of course, a witch [7]. |
|
鯤 |
|
459 |
irrigate |
|
沃 |
Suffering from a drought, the farmers call on a witch who conjures up water to irrigate their crops. [7] |
|
鮟 |
|
* |
angel |
|
喬 |
The sense of the primitive, angel, derives from the primitive for replacing the in the character for . [12] |
|
洶 洸 |
|
460 |
bridge |
|
橋 |
The bridge shown here is made of trees in their natural form, except that the trunks have been carved into the forms of angels, a sort of “Ponte degli Angeli.” [16] |
|
活 洽 |
|
461 |
attractive |
|
嬌 |
Associating a particularly attractive woman you know with an angel should be no problem. [15] |
|
派 流 |
|
463 |
cry |
|
泣 |
One cries and cries until one is standing up knee-deep in water (or until one has a vase-full of water). [8] |
|
浣 浤 |
|
464 |
badge |
|
章 |
Try to imagine a club badge pinned to your lapel in the form of a mammoth sunflower protruding from a wee little vase. [11] |
|
浦 浩 |
|
465 |
vie |
|
競 |
Two teenagers are seen here standing up to one another, vying for the attention of their peers. [20] |
|
浪 浬 浮 |
|
467 |
renunciation |
|
諦 |
The key word renunciation has to do with the wisdom and clarity of mind in knowing when to “let go.” This is what makes the words of acquiescence sovereign. [16] |
|
鯨 |
|
468 |
juvenile |
|
童 |
This frame shows up the image of a juvenile hacker standing on top of a computer, or rather jumping up and down on it, because it refused to come up with the right answer. [12] |
|
浸 浹 |
|
470 |
bell |
|
鐘 |
This bell is made of cheap metal, and so badly made that when you ring it, it lets out a noise like the “bellowing” of juveniles who aren’t getting their own way. [20] |
|
消 涌 |
|
* |
antique |
|
|
The primitive meaning antique, not itself a kanji, depicts a kept under a because it is very, very . [11] |
|
涙 涛 涜 |
|
473 |
suitable |
|
適 |
Can you imagine anything less suitable to do with one’s precious antiques than to display them in the middle of a crowded road-way? [14] |
|
液 涵 |
|
474 |
drip |
|
滴 |
Picture water dripping on what you thought were precious antiques, only to find that the artificial aging painted on them is running! [14] |
|
涸 涼 |
|
478 |
aroma |
|
匂 |
You will have to imagine “capturing” a favorite aroma by having it gagged and bound up in a spoon. [4] |
|
鯱 |
|
479 |
about that time |
|
頃 |
When Uncle Bob starts his comic routine of sticking spoons on his head, you know it is about that time to come up with a reason to excuse yourself. [11] |
|
鰄 |
|
481 |
stature |
|
背 |
One’s stature is measured according to the “northern-most” part of the body. [9] |
|
淕 淘 |
|
482 |
compare |
|
比 |
With two spoons, one in each hand, you are comparing your mother’s cooking with your mother-in-law’s. [4] |
|
淙 淞 淟 |
|
486 |
orderliness |
|
諧 |
The harmony of “a place for everything and everything in its place” is applied here to the orderliness of all the words one speaks. [16] |
|
鰈 |
|
487 |
mix |
|
混 |
Mixed marriages, this character suggests, water down the quality of one’s descendants—the oldest racial nonsense in the world! [11] |
|
濟 濠 |
|
488 |
thirst |
|
渇 |
As you pass by the muchacho taking the siesta, he cries out that he is thirsty and asks for something to drink. So you turn the water hose on him. [11] |
|
淮 深 |
|
490 |
brown |
|
褐 |
The color of the serape or cloak of our muchacho on siesta is a dull brown, the color this kanji indicates. [13] |
|
淵 混 |
|
491 |
hoarse |
|
喝 |
When the muchacho on siesta looks up and opens his mouth to talk, his voice is so hoarse you cannot understand him. [11] |
|
淸 淹 |
|
493 |
delicious |
|
旨 |
Something is so downright delicious that one spends the entire day with a spoon in hand gobbling it up. [6] |
|
淺 添 |
|
494 |
fat |
|
脂 |
This kanji tells us that if you feed the flesh with too many delicious things, it soon picks up a thick layer of fat. [10] |
|
淼 清 |
|
495 |
visit a shrine |
|
詣 |
Here you “savor your words” as something delicious when you describe your recent visit to a shrine or pilgrimage site. [13] |
|
鰊 |
|
496 |
i (one) |
|
壱 |
The Roman numeral i—like that for ii we met earlier in frame 379—is only rarely used now. In the midst of all the samurai, we notice one in particular sitting on the ground with a crown on his head, indicating that he is “number i” in the current rankings. [7] |
|
渇 済 渉 |
|
* |
reclining |
|
育 |
The picture is obvious: the first stroke represents the head, and the second the body of someone reclining. You may also use the synonyms or . [2] |
|
渤 渟 |
|
497 |
every |
|
毎 |
“Behind every successful person lies a woman…,” who usually turns out to be one’s mama! [6] |
|
渊 渋 |
|
498 |
cleverness |
|
敏 |
Behind every successful taskmaster, the cleverness of a fox to outwit his charges. [10] |
|
渓 渕 |
|
499 |
plum |
|
梅 |
Behind every Jack Horner’s pie maker, a tree full of plums. [10] |
|
渙 渚 |
|
500 |
sea |
|
海 |
Behind every drop of water, a sea from which it originated. [9] |
|
減 渝 |
|
501 |
beg |
|
乞 |
See someone lying down in a public place with a hook in place of a hand, begging a morsel of rice or a few pence. [3] |
|
渟 渠 |
|
502 |
drought |
|
乾 |
In times of drought anything at all will do. Here we see the victims begging for just a little mist for relief. [11] |
|
渡 渣 |
|
503 |
abdomen |
|
腹 |
If you double back (fold over) most animals—or people, for that matter—in the middle, the part of the body where the crease comes is the abdomen. [13] |
|
渫 測 |
|
504 |
duplicate |
|
複 |
In its original and etymologically transparent sense, to duplicate something means to double it back with a fold, like the fold of a cloak. [14] |
|
渭 渮 |
|
506 |
blow |
|
吹 |
To blow is really no more than a deliberate effort to make one’s mouth lack all the air that is in it. [7] |
|
渼 渾 |
|
508 |
song |
|
歌 |
The song in this kanji is being sung by a chorus line of can-can girls. Why it should be eliciting nothing but yawning from the audience, I leave to you to decide. [14] |
|
濘 濛 |
|
510 |
next |
|
次 |
Earlier we made mention of the story of Briar Rose (or “Sleeping Beauty,” as we called her in frame 165) and drew attention to the briar hedge that grew up all about her castle. But in the second part of the story, these briars blossomed into flowers. Hence her name, Briar Rose. Be careful not to confuse this character with that for thorn (frame 446). [9] |
|
湖 湘 |
|
|
As a primitive, this character can either retain its key word meaning of next or the related meaning of second. |
|
511 |
briar |
|
茨 |
The first shells (money) you earn, you use to pay your debts. From then on, the next shells you accumulate become your assets. [13] |
|
湛 湜 |
|
512 |
assets |
|
資 |
The first shells (money) you earn, you use to pay your debts. From then on, the next shells you accumulate become your assets. [13] |
|
湟 湧 |
|
513 |
figure |
|
姿 |
This kanji depicts a woman’s figure as a sort of second self. [9] |
|
湫 湮 |
|
514 |
consult with |
|
諮 |
To seek the words of a second mouth is to consult with someone about something. [16] |
|
湯 湲 湶 |
Lesson 19
We conclude Part Two by picking up most of the remaining primitives that can be built up from elements already at our disposal, and learning the kanji that are based on them. When you have completed this section, run through all the frames from Lesson 13 on, jotting down notes at any point you think helpful. That way, even if you have not made any notations on your review cards, you will at least have some record of the images you used.
|
* |
muzzle |
|
|
The element for muzzle shows a fixed over a , perhaps with a rubber band running around the back of the head to keep it in place. [8] |
|
湾 湿 |
|
515 |
compensation |
|
賠 |
Picture a clam used as a muzzle to quiet the complaints of a fisherman’s widow asking compensation for her husband lost at sea. [15] |
|
満 溂 |
|
517 |
divide |
|
剖 |
To “divide and conquer” you use a saber and a muzzle. [10] |
|
源 準 |
|
519 |
darkness |
|
暗 |
When “darkness covered the earth” at the beginning of time, there was neither sun nor sound. [13] |
|
溝 溟 |
|
521 |
discriminating |
|
識 |
A person of discriminating intellect can tell the difference between mere kazoo-buzzing and words spoken wisely. [19] |
|
滋 滌 |
|
* |
mirror |
|
竟 |
This primitive gets its meaning from the following frame. It shows a pair of and a looking at a mirror on the wall, asking perhaps who might be the fairest of them all. [11] |
|
滑 滓 澁 |
|
522 |
mirror |
|
鏡 |
After lakes but before glass, polished metal was used for mirrors. These metal mirrors are recalled in this character for a mirror. [19] |
|
滔 滕 |
|
523 |
boundary |
|
境 |
Imagine the boundary of a plot of land marked with gigantic mirrors enabling the landowner to keep trespassers in sight at all times. [14] |
|
滝 滞 |
|
525 |
blind |
|
盲 |
If one’s eyes perish before death, one remains blind for the rest of life. [8] |
|
滲 滴 |
|
526 |
delusion |
|
妄 |
The “ideal woman” one daydreams about is no more than a delusion. Hence, perish the thought of her. [6] |
|
滷 滸 |
|
527 |
laid waste |
|
荒 |
The flowers that perish in the flood are taken here as symbols of an area that has been laid waste. [9] |
|
滾 滿 漁 |
|
530 |
disturb |
|
妨 |
Imagine a compass that is disturbed every time a woman passes by, sending the needle spinning madly round and round. [7] |
|
漓 演 |
|
531 |
boy |
|
坊 |
The character for a boy shows us a Boy Scout cleaning the dirt out of his compass—the more dirt, the better. [7] |
|
漕 漠 |
|
532 |
perfumed |
|
芳 |
Here we see a special compass used to pick out those flowers most suited for making good perfumes. [7] |
|
漢 漣 |
|
533 |
obese |
|
肪 |
If you eat too much, you may need a compass to find your way around the obese mass of flesh that piles up in your midsection. Compare this with the stories for round (frame 44) and fat (frame 494), similar in meaning but distinct in imagery. [8] |
|
漫 漬 |
|
534 |
call on |
|
訪 |
When making a courtesy call on a dignitary, one has to gauge one’s words with great care. Hence the need for a compass. [11] |
|
漱 漲 |
|
535 |
set free |
|
放 |
The taskmaster sets an unruly servant free, giving him no more than a quick glance at the compass and a boot from behind. [8] |
|
漸 漾 |
|
* |
devil |
|
|
The two on the head of the are enough to suggest to most parents of adolescents a good image of a devil. [7] |
|
潘 潛 |
|
537 |
undress |
|
脱 |
To undress is to expose the flesh and tempt the devil in the eyes of one’s onlookers. Ignore the moral if you want, but not the devil. [11] |
|
潜 潟 |
|
538 |
explanation |
|
説 |
Not inappropriately, this character likens an explanation to the devil’s own words. [14] |
|
潤 潦 |
|
539 |
pointed |
|
鋭 |
Metal that has been pointed (as an awl, a pick, a nail, or a knife) tends to serve the devil’s purposes as well as civilization’s: our tools are also our weapons. [15] |
|
潭 潮 |
|
541 |
increase |
|
増 |
This kanji depicts an increase of soil, multiplying so fast that it literally buries everything in its path. [14] |
|
潸 潺 |
|
542 |
presents |
|
贈 |
The presents offered here are money that increases each time you give it away. Do not confuse with the temporal word “present” (frame 275). [18] |
|
潼 澀 |
|
544 |
ridgepole |
|
棟 |
If the piece of wood in the roof known as the ridgepole points east, the sunrise will be visible from the front door. [12] |
|
澤 澪 並 |
|
545 |
frozen |
|
凍 |
The whole secret to breaking the ice with the East is to peek behind those mysteriously “frozen smiles.” [10] |
|
澱 澳 |
|
* |
porter |
|
壬 |
Let the extended dot at the top represent the load that the is carrying in his role as the master’s porter. [4] |
|
澵 澹 |
|
546 |
pregnancy |
|
妊 |
A woman who is in her pregnancy is a bit like a porter, bearing her new companion wherever she goes. [7] |
|
激 濁 |
|
547 |
courts |
|
廷 |
Those who rule the courts, the porters of justice and order, are often found to stretch the law to suit their own purposes. Recall the kanji for prolong from frame 419 and keep it distinct. [7] |
|
濂 濃 |
We come now to the third major step in our study of the kanji: the invention of plots from primitive elements. From now on, the ordering of the remaining characters according to their primitives will be taken care of, but the reader will be required to do most of the work. As before, particularly difficult kanji will be supplied with supplementary hints, plots, or even whole stories.
You should now have a feel for the way details can be worked into a kanji story so as to create a more vivid ambience for the primitive elements to interact. What may be more difficult is experimenting with plots and discarding them until the simplest one is fixed on, and then embellished and nuanced. You may find it helpful occasionally to study some of the earlier stories that you found especially impressive, in order to discover precisely why they struck you, and then to imitate their vitality in the stories you will now be inventing. Equally helpful will be any attention you give to those characters whose stories you have found it difficult to remember, or have easily confused with those of other characters. As you progress through this final section, you may wish even to return and amend some of those earlier stories. But do it with the knowledge that once a story has been learned, it is generally better to review it and perhaps repair it slightly than to discard it entirely and start over.
Lesson 20
To begin our work with the primitives alone, let us take six kanji of varying difficulty that use primitives we have already learned, and that have been kept apart deliberately for the sake of this initial sally into independent learning.
|
550 |
V.I.P. |
|
賓 |
The V.I.P. indicated here is an important guest making a visit. The elements are: house . . . ceiling . . . few . . . shells. [15] |
|
濶 濺 濾 瀁 |
|
551 |
year-end |
|
歳 |
Stop . . . march . . . little. Be sure not to forget that final dot in the element for march. [13] |
|
瀅 瀇 瀉 瀋 |
|
553 |
horse chestnut |
|
栃 |
A tree . . . cliff . . . ten thousand. [9] |
|
瀕 瀘 瀚 |
Lesson 21
If you found some of the characters in the last brief lesson difficult to work with, I assure you that it will get easier with time, indeed already with this long lesson. More important is to take heed that as it does get easier you don’t skip over the stories too quickly, trusting only in the most superficial of images. If you spend up to five minutes on each character focusing on the composition of the primitives into a tidy plot, and then filling out the details of a little story, you will not be wasting time, but saving yourself the time it takes to relearn it later.
|
* |
scorpion |
|
也 |
This primitive is a pictograph of the scorpion, the first 2 strokes representing its head and pincers, the last stroke its barbed tail, in which you may recognize the . [3] |
|
瀛 瀝 瀞 |
|
554 |
ground |
|
地 |
Soil and a scorpion (an “earth animal”). This is, of course, the full character from which the primitive for ground derives. [6] |
|
瀟 瀦 |
|
556 |
insect |
|
虫 |
Work with the pictograph as you wish. [6] |
|
瀬 瀰 瀲 瀾 |
|
|
As a primitive, this insect will refer to the whole kingdom;, it can be specified for each kanji that contains it. |
|
557 |
lightning bug |
|
蛍 |
Schoolhouse . . . insect. [11] |
|
灌 灑 |
|
558 |
snake |
|
蛇 |
Insect . . . house . . . spoon. [11] |
|
灘 灣 火 |
|
559 |
rainbow |
|
虹 |
Insect . . . craft. [9] |
|
灯 灰 |
|
560 |
butterfly |
|
蝶 |
Insect . . . generation . . . tree. [15] |
|
灸 灼 災 |
|
561 |
single |
|
独 |
Think of this key word in connection with bachelorhood. The elements: wild dogs . . . insect. [9] |
|
炅 炉 |
|
562 |
silkworm |
|
蚕 |
Heavens . . . insect. Be sure to do something about the position of the two elements. [10] |
|
焉 焄 |
|
563 |
wind |
|
風 |
Windy . . . drops of . . . insects. Hint: think of the last two primitives as representing a swarm of gnats, those tiny drops of pesky insects. [9] |
|
炊 炎 炒 |
|
564 |
self |
|
己 |
The kanji carries the abstract sense of the self, the deep-down inner structure of the human person that mythology has often depicted as a snake—which is what the kanji shows pictographically. Be sure to keep it distinct from the similar key words, oneself (frame 36) and I (frame 17). [3] |
|
炙 炫 炬 |
|
|
As a primitive element, this kanji can be used for the —of which it is a pictograph—or any of the various concrete symbolic meanings the has in myth and fable. |
|
565 |
rouse |
|
起 |
Run . . . snake. [10] |
|
炭 炮 |
|
566 |
queen |
|
妃 |
Woman . . . snake. [6] |
|
炯 炳 |
|
568 |
scribe |
|
記 |
Words . . . snake. [10] |
|
為 炻 |
|
569 |
wrap |
|
包 |
Bind up . . . snake. [5] |
|
烈 烋 |
|
|
The primitive meaning of should always be used with the in mind to avoid confusion with similar terms. Just let “” mean “with a snake coiled about it.” |
|
570 |
placenta |
|
胞 |
Part of the body . . . wrap. [9] |
|
烏 烙 |
|
571 |
cannon |
|
砲 |
Stones . . . wrap. [10] |
|
烝 烟 |
|
572 |
bubble |
|
泡 |
Water . . . wrap. [8] |
|
烱 烹 |
|
573 |
tortoise |
|
亀 |
This is not a turtle (see frame 250) but a tortoise, however you wish to picture the difference. Let the “bound up” at the top refer to the head, and the two suns, with a long tail running through it, to the shell. [11] |
|
焔 焙 焚 |
|
|
When this kanji is abbreviated to its bottom half (), it takes the primitive meaning of an . When only the first two strokes are omitted (), it will mean a Examples of this latter will not appear until Vol. 3. |
|
574 |
electricity |
|
電 |
Rain/weather . . . eel. [13] |
|
焜 無 |
|
575 |
dragon |
|
竜 |
Vase . . . eel. In order not to confuse this kanji with the zodiacal sign of the dragon, which we will meet later (frame 2164) and use as a primitive, you might think here of a paper parade dragon. [10] |
|
焦 然 |
|
576 |
waterfall |
|
滝 |
Water . . . vase . . . eels. To avoid the confusion mentioned in the previous frame, the character learned there for dragon should not be used as a primitive. [13] |
|
焼 煆 煇 |
|
577 |
pork |
|
豚 |
Flesh . . . sow. [11] |
|
煢 煤 |
|
578 |
pursue |
|
逐 |
Sows . . . road. [10] |
|
煥 煦 |
|
579 |
consummate |
|
遂 |
The horns atop the sow suggest a boar at work in the background. Add the element for a road. Now create a story whose meaning is: consummate. [12] |
|
照 煩 煬 |
|
582 |
overpowering |
|
豪 |
Tall . . . crowned . . . sow. [14] |
|
熊 熏 熔 |
|
* |
piglets |
|
|
This abbreviation of the full primitive for a , quite naturally, means piglets. [5] |
|
熕 熙 熟 熨 熬 |
|
583 |
intestines |
|
腸 |
Flesh . . . piggy bank. [13] |
|
熾 燁 |
|
584 |
location |
|
場 |
Soil . . . piggy bank. [12] |
|
燃 燈 |
|
585 |
hot water |
|
湯 |
Water . . . piggy bank. [12] |
|
燉 燎 |
|
587 |
beauty |
|
美 |
Try to think of what the Chinese were on to when they associated the idea of beauty with a large sheep. [9] |
|
餮 餽 餾 饂 饅 |
|
588 |
ocean |
|
洋 |
Water . . . sheep. Be sure to keep the stories and key word of this kanji distinct from those for sea. (frame 500). [9] |
|
營 燠 |
|
589 |
detailed |
|
詳 |
Words/speaking . . . sheep. [13] |
|
燥 燦 |
|
590 |
fresh |
|
鮮 |
Fish . . . sheep. [17] |
|
燧 燬 |
|
591 |
accomplished |
|
達 |
The key word is meant to connote someone “skilled” at something. On the road we find soil over a sheep. You may have to work with this one a while longer. [12] |
|
燭 燮 燵 |
|
592 |
envious |
|
羨 |
Sheep . . . water . . . yawn/lack. Although this character looks rather simple, special care should be taken in learning it because of the proximity of the final two elements to the character for next, which we learned in frame 510. Note, too, that the water comes under the sheep, rather than on its own to the left. [13] |
|
燹 燻 燼 |
|
593 |
distinction |
|
差 |
Wool . . . craft. [10] |
|
爆 爍 |
|
594 |
don |
|
着 |
I cannot resist doing this one for you, since it clearly describes donning (putting on) one’s clothes as “pulling the wool over one’s eyes.” [12] |
|
爐 爛 |
|
595 |
solely |
|
唯 |
Mouth . . . turkey. [11] |
|
爺 爻 |
|
596 |
piled high |
|
堆 |
Soil . . . turkey. [11] |
|
|
|
597 |
sweet oak |
|
椎 |
Tree . . . turkey. [12] |
|
|
|
598 |
who |
|
誰 |
Words . . . turkey. [15] |
|
|
|
599 |
char |
|
焦 |
Turkey . . . oven fire. [12] |
|
爼 爽 |
|
600 |
reef |
|
礁 |
Rocks . . . char. [17] |
|
爾 爿 |
|
601 |
gather |
|
集 |
Turkeys . . . atop a tree. [12] |
|
牀 牆 |
|
602 |
quasi- |
|
准 |
Ice . . . turkey. [10] |
|
片 版 |
|
603 |
advance |
|
進 |
Turkey . . . road. [11] |
|
牋 牌 |
|
604 |
miscellaneous |
|
雑 |
Baseball . . . trees . . . turkey. [14] |
|
牒 牘 牙 |
|
605 |
female |
|
雌 |
This character for female forms a pair with that for male, which we will learn later (frame 804). The elements: footprint . . . spoon . . . turkey. [14] |
|
牛 牝 牟 |
|
606 |
semi- |
|
準 |
Think of this in terms of the semifinals of some sports competition. Water . . . turkeys . . . needle. [13] |
|
牡 牢 牣 |
|
607 |
stirred up |
|
奮 |
St. Bernard dog . . . turkey . . . rice field/brains. [16] |
|
牧 物 牲 |
|
608 |
rob |
|
奪 |
Whereas burglary (frame 381) implies clandestine appropriation of another’s property, robbery refers to taking by force. The primitive elements: St. Bernard dog . . . turkey . . . glue. [14] |
|
牴 特 牽 |
|
609 |
assurance |
|
確 |
On the left you see the rock, which is familiar enough. But pay attention to the right. Taking careful note of the unusual stroke order that has the “chimney” on the house doubled up with the first stroke of the turkey, we may see the right side as a turkey house (or “coop”). We shall see this pattern only on one other occasion (frame 2093), but even for these two characters it is well worth the trouble to single it out as a primitive. [15] |
|
牾 犀 犁 犂 |
|
610 |
noon |
|
午 |
With a bit of stretching, you might see a horse’s head pointing leftward in this character. That gives the primary meaning of the Chinese zodiacal sign of the horse, which corresponds to the hour of noon. Note how this kanji primitive differs from that for cow (frame 260). [4] |
|
犒 犖 犠 犢 |
|
|
As a primitive, this character gets the meaning of a . Any image will do, except that of a , which will come later (frame 2132) and get its own primitive. |
|
611 |
permit |
|
許 |
Words . . . horse. [11] |
|
犧 犬 |
|
* |
Pegasus |
|
|
By combining the (giving a twist to its final stroke a bit to the left to keep the strokes from overlapping) with the , we get a or Pegasus. Be sure not to confuse with the rarer element for that was introduced in frame 609. [11] |
|
犯 犱 |
|
613 |
authority |
|
権 |
Tree . . . Pegasus. [15] |
|
犹 犾 |
|
614 |
outlook |
|
観 |
Pegasus . . . see. [18] |
|
狂 狃 |
|
615 |
feathers |
|
羽 |
From the pictograph of two bird-wings, we get feathers. [6] |
|
狄 狆 狎 狐 |
|
|
The related image of can be added as a primitive meaning. It can also take the form when used as a primitive, as we shall see in frames 618 and 619. |
|
616 |
learn |
|
習 |
Feathers . . . white bird. [11] |
|
狒 狗 |
|
617 |
the following |
|
翌 |
Feathers . . . vase. Be sure to contrast the connotation of this key word with that for next (frame 510). [11] |
|
狙 狛 |
|
618 |
weekday |
|
曜 |
Day . . . feathers . . . turkey. [18] |
|
狠 狡 狢 |
|
619 |
laundry |
|
濯 |
Water . . . feathers . . . turkey [17] |
|
狩 独 狭 |
Lesson 22
This is a good time to stop for a moment and have a look at how primitive elements get contracted and distorted by reason of their position within a kanji. Reference has been made to the fact here and there in passing, but now that you have attained greater fluency in writing, we may address the phenomenon more systematically.
From this chapter on, the stroke order will not be given unless it is entirely new, departs from the procedures we have learned so far, or might otherwise cause confusion. Should you have any trouble with the writing of a particular primitive, you can refer to Index II which will direct you to the page where that primitive was first introduced.
With that, we carry on.
|
* |
pent in |
|
囗 |
This primitive depicts a corral or pen surrounding something, which is thus pent in. [3] |
|
狷 狸 狹 |
|
620 |
sayeth |
|
曰 |
Pent in . . . one. The key word refers to famous sayings of famous people, and is the origin for the primitive meaning of a tongue wagging in the mouth that we learned in frame 12. The size of this kanji, a relatively rare one, is what distinguishes it from day. [4] |
|
狼 狽 猊 |
|
621 |
quandary |
|
困 |
Pent in . . . trees. [7] |
|
猖 猗 猛 猜 猝 猟 猤 |
|
622 |
harden |
|
固 |
Pent in . . . old. Leave the people out of your story to avoid complications later when we add the element for person to form a new kanji (frame 1047). [8] |
|
623 |
weld |
|
錮 |
Metal . . . harden. [16] |
|
624 |
country |
|
国 |
Pent in . . . jewels. [8] |
|
625 |
group |
|
団 |
Pent in . . . glued. [6] |
|
626 |
cause |
|
因 |
Pent in . . . St Bernard dog. [6] |
|
627 |
matrimony |
|
姻 |
Woman . . . cause. Think here of the “state of matrimony” and you will not confuse it with other characters involving marriage, one of which we have already met (frame 581). [9] |
|
628 |
windpipe |
|
咽 |
Mouth . . . cause. [9] |
|
629 |
park |
|
園 |
Pent in . . . lidded crock . . . scarf. [13] |
|
632 |
store |
|
店 |
Cave . . . fortune-telling. [8] |
|
猴 猶 |
|
633 |
warehouse |
|
庫 |
Cave . . . car. [10] |
|
634 |
courtyard |
|
庭 |
Cave . . . courts. [10] |
|
635 |
government office |
|
庁 |
Cave . . . a spike. [5] |
|
636 |
bed |
|
床 |
Cave . . . tree. [7] |
|
637 |
hemp |
|
麻 |
Cave . . . grove. If it helps, this is the hemp marijuana comes from. [11] |
|
638 |
grind |
|
磨 |
Hemp . . . stone. [16] |
|
猷 猾 |
|
640 |
forget |
|
忘 |
Perish . . . heart. [7] |
|
641 |
selfish |
|
恣 |
Second . . . heart. [10] |
|
642 |
endure |
|
忍 |
Blade . . . heart. Endure here means long-suffering patience. [7] |
|
643 |
acknowledge |
|
認 |
Words . . . endure. [14] |
|
644 |
mourning |
|
忌 |
Snake . . . heart. [7] |
|
645 |
intention |
|
志 |
Samurai . . . heart. [7] |
|
646 |
document |
|
誌 |
Words . . . intention. [14] |
|
647 |
wick |
|
芯 |
Flowers . . . heart. [7] |
|
648 |
loyalty |
|
忠 |
In the middle of a . . . heart. [8] |
|
649 |
shish kebab |
|
串 |
This pictograph of two pieces of meat on a skewer, a shish kebab, will help us in the next frame. [7] |
|
獏 獗 獣 |
|
650 |
afflicted |
|
患 |
Shish kebab . . . heart. [11] |
|
651 |
think |
|
思 |
Brains . . . heart. [9] |
|
652 |
grace |
|
恩 |
Take grace in its sense of a favor freely bestowed, not in its meaning of charming manners or fluid movement. The primitives: cause . . . heart. [10] |
|
653 |
apply |
|
応 |
Cave . . . heart. The sense of the key word here is of something appropriate that fills a particular need, and hence “applies.” [7] |
|
654 |
idea |
|
意 |
Sound . . . heart. [13] |
|
655 |
cowardice |
|
臆 |
Flesh . . . idea. [17] |
|
656 |
concept |
|
想 |
To distinguish this kanji from that of the previous frame, focus on the sense of the “con-” in the word “concept.” Its elements are: inter- . . . heart. [13] |
|
657 |
breath |
|
息 |
Nose . . . heart. [10] |
|
659 |
favor |
|
恵 |
Ten . . . fields (or: needle . . . brains) . . . heart. [10] |
|
660 |
fear |
|
恐 |
Craft . . . mediocre . . . heart. [10] |
|
661 |
beguile |
|
惑 |
The first three elements, mouth . . . floor . . . fiesta, appeared together once already in frame 380. Beneath them, once again, the heart. [12] |
|
662 |
emotion |
|
感 |
March of . . . mouths . . . heart. [13] |
|
665 |
busy |
|
忙 |
State of mind . . . perish. [6] |
|
航 舫 般 舮 舳 舵 |
|
666 |
ecstasy |
|
悦 |
State of mind . . . devil. [10] |
|
667 |
constancy |
|
恒 |
State of mind . . . span. [9] |
|
669 |
enlightenment |
|
悟 |
I know of an Indian religious sect which teaches that enlightenment is to be had by covering the eyes with one’s index fingers, the ears with the thumbs, and the mouth with the little fingers. While these differ a bit from the five holes that we used to represent the “I” (frame 17), the idea of achieving a special state of mind by covering those five places can help you learn this kanji. You might try the position out while you are learning this character. [10] |
|
670 |
dreadful |
|
怖 |
State of mind . . . linen. [8] |
|
671 |
disconcerted |
|
慌 |
State of mind . . . laid waste. [12] |
|
672 |
repent |
|
悔 |
State of mind . . . every (see frame 497). [9] |
|
673 |
hate |
|
憎 |
State of mind . . . increase. [14] |
|
674 |
accustomed |
|
慣 |
State of mind . . . pierce. [14] |
|
675 |
pleasure |
|
愉 |
State of mind . . . meeting of butchers (see frame 307). [12] |
|
676 |
lazy |
|
惰 |
State of mind . . . left (i.e. “sinister”) . . . flesh. [12] |
|
677 |
humility |
|
慎 |
State of mind . . . true. [13] |
|
678 |
remorse |
|
憾 |
State of mind . . . emotion. Hint: the etymology of “remorse” indicates a memory that returns again and again to “bite at” one’s conscience and disturb one’s peace of mind. [16] |
|
679 |
recollection |
|
憶 |
State of mind . . . idea. [16] |
|
680 |
disquieting |
|
S |
State of mind . . . tool. [11] |
|
681 |
yearn |
|
憧 |
Think of the state of mind you were in as a child with a particularly juvenile yearning. [15] |
|
682 |
hanker |
|
憬 |
State of mind . . . scenery. [15] |
|
683 |
pining |
|
慕 |
Graveyard . . . valentine. Note carefully the stroke order of the valentine primitive. [14] |
|
玄 率 玉 王 玖 |
|
684 |
annexed |
|
添 |
Water . . . witch . . . valentine. [11] |
|
686 |
ooze |
|
泌 |
Water . . . the invariably divided heart. [8] |
Lesson 23
When you finish this lengthy lesson you shall have passed well beyond one-third of our way through this book. Here we focus on elements having to do with hands and arms. As always, the one protection you have against confusing the elements is to form clear and distinct images the first time you meet them. If you make it through this chapter smoothly, the worst will be behind you and you should have nothing more to fear the rest of the way.
|
688 |
watch over |
|
看 |
Hand . . . eyes. [9] |
|
珊 珍 |
|
689 |
chafe |
|
摩 |
Hemp . . . hand. [15] |
|
690 |
ego |
|
我 |
Hand . . . fiesta. Note how the second stroke of the hand is stretched across to double up as the first stroke of the tasseled arrow we use for fiesta. Compare to frames 17, 36, and 564. [7] |
|
珎 珒 珖 珞 珠 珣 珥 |
|
691 |
righteousness |
|
義 |
Sheep . . . ego. [13] |
|
692 |
deliberation |
|
議 |
Words . . . righteousness. [20] |
|
693 |
sacrifice |
|
犠 |
Cow . . . righteousness. Do not use the image of an animal sacrifice here, as that will have its own character later on. [17] |
|
* |
fingers |
|
⺘ |
This alternate form of the primitive for we shall use to represent or . It always appears at the left. [3] |
|
珪 班 珮 |
|
694 |
rub |
|
抹 |
Fingers . . . extremity. [8] |
|
695 |
wipe |
|
拭 |
Fingers . . . style. [9] |
|
696 |
yank |
|
拉 |
The sense of this key word is to pull or jerk, as in opening a door or making “ramen” noodles. Its elements: fingers . . . vase. [8] |
|
697 |
embrace |
|
抱 |
Fingers . . . wrap. [8] |
|
698 |
board |
|
搭 |
The key word refers to boarding vessels for travel. Its elements are: finger . . . flowers . . . fit together (see frame 270). [12] |
|
699 |
extract |
|
抄 |
Fingers . . . a few. [7] |
|
700 |
confront |
|
抗 |
Fingers . . . a whirlwind. [7] |
|
701 |
criticism |
|
批 |
Finger . . . compare. [7] |
|
702 |
beckon |
|
招 |
Finger . . . seduce. [8] |
|
703 |
clear the land |
|
拓 |
Fingers . . . rocks. [8] |
|
704 |
clap |
|
拍 |
Fingers . . . white. [8] |
|
705 |
strike |
|
打 |
Finger . . . spike. [5] |
|
706 |
arrest |
|
拘 |
Fingers . . . phrase. [8] |
|
707 |
discard |
|
捨 |
Fingers . . . cottage. [11] |
|
708 |
kidnap |
|
拐 |
Finger . . . mouth . . . dagger. [8] |
|
709 |
pinch |
|
摘 |
Finger . . . antique. [14] |
|
710 |
challenge |
|
挑 |
Fingers . . . portent. [9] |
|
711 |
finger |
|
指 |
Finger . . . delicious. [9] |
|
712 |
hold |
|
持 |
Fingers . . . Buddhist temple. [9] |
|
713 |
imminent |
|
拶 |
Fingers . . . flood . . . evening. [9] |
|
714 |
fasten |
|
括 |
Finger . . . tongue. [9] |
|
715 |
brandish |
|
揮 |
Finger . . . chariot. [12] |
|
716 |
conjecture |
|
推 |
Fingers . . . turkey. [11] |
|
717 |
hoist |
|
揚 |
Fingers . . . piggy bank. [12] |
|
718 |
propose |
|
提 |
Fingers . . . just so. [12] |
|
719 |
damage |
|
損 |
Finger . . . employee. [13] |
|
720 |
pick up |
|
拾 |
Fingers . . . fit together. Compare frame 698. [9] |
|
721 |
shouldering |
|
担 |
The key word of this frame refers to shouldering a burden of some sort. Its elements are: fingers . . . nightbreak. [8] |
|
722 |
foothold |
|
拠 |
Fingers . . . dispose. [8] |
|
723 |
sketch |
|
描 |
Fingers . . . seedling. [11] |
|
724 |
maneuver |
|
操 |
Fingers . . . goods . . . tree. [16] |
|
725 |
touch |
|
接 |
Fingers . . . vase . . . woman. [11] |
|
726 |
put up a notice |
|
掲 |
Fingers . . . siesta. [11] |
|
727 |
hang |
|
掛 |
Fingers . . . ivy . . . magic wand. [11] |
|
728 |
make headway |
|
捗 |
Let your fingers do the walking as you make headway through the Yellow Pages in search of something hard to find. [11] |
|
729 |
polish |
|
研 |
Stone . . . two hands. [9] |
|
730 |
commandment |
|
戒 |
Two hands . . . fiesta. [7] |
|
琅 理 琇 |
|
731 |
tinker with |
|
弄 |
Ball . . . two hands. [7] |
|
732 |
contraption |
|
械 |
Tree . . . commandment. [11] |
|
734 |
punish |
|
刑 |
Two hands . . . saber. [6] |
|
735 |
mould |
|
型 |
Punish . . . soil. In cases like this, you might find it easier to break the character up into its more basic elements, like this: two hands . . . saber . . . soil. [9] |
|
737 |
property |
|
財 |
Clam . . . genie. [10] |
|
738 |
lumber |
|
材 |
Tree . . . genie. [7] |
|
739 |
suppose |
|
存 |
Genie in the bottle . . . a child. Hint: focus on the key word’s connotation of “make believe”. [6] |
|
琦 琩 琪 琮 |
|
740 |
exist |
|
在 |
Genie in the bottle . . . soil. [6] |
|
742 |
portable |
|
携 |
Fingers . . . turkey . . . fist. [13] |
|
743 |
reach out |
|
及 |
The addition of a final stroke transforms this character from the primitive for a clenched fist into the kanji for reaching out, much as a stroke of kindness can often turn anger into acceptance. [3] |
|
琴 琵 琶 |
|
|
As a primitive, this shall stand for . Only take care not to confuse it with that for (frame 501) |
|
744 |
suck |
|
吸 |
Mouth . . . outstretched hands. Hint: use the image of a nursing baby. [6] |
|
745 |
handle |
|
扱 |
Finger . . . outstretched hands. [6] |
|
* |
arm |
|
|
The picture of an arm dangling from the trunk of the body gives us the element for arm, or tucked under the arm (relative to the element below it). Examples of both usages follow. Unlike most primitives, the kanji that bears the same meaning (frame 1522) has absolutely no connection with it. [2] |
|
琺 琿 |
|
746 |
length |
|
丈 |
The length whose measure this kanji depicts extends from the tip of one hand to the tip of the other with arms at full length. Notice the final stroke, which cuts across the vertical second stroke to distinguish it from large (frame 112). [3] |
|
瑁 瑕 瑙 |
|
747 |
history |
|
史 |
A mouth . . . tucked under the arm. [5] |
|
瑚 瑛 瑜 |
|
748 |
officer |
|
吏 |
One . . . history. [6] |
|
750 |
stiff |
|
硬 |
Rocks . . . grow late. [12] |
|
753 |
pair |
|
双 |
The crotch reduplicated gives us a pair. [4] |
|
754 |
mulberry |
|
桑 |
Crotches, crotches everywhere . . . tree. Hint: think of a group of children playing an original version of “Here We Go ’Round the Mulberry Bush.” [10] |
|
755 |
vessels |
|
隻 |
The key word indicates the Japanese generic term for counting ships. Its elements: turkey . . . crotch. [10] |
|
756 |
safeguard |
|
護 |
Words . . . flowers . . . vessels. [20] |
|
757 |
seize |
|
獲 |
A pack of wild dogs . . . flowers . . . vessels. Do not confuse this with the character for arrest (frame 706). [16] |
|
758 |
guy |
|
奴 |
Woman . . . crotch. [5] |
|
759 |
angry |
|
怒 |
Guy . . . heart. [9] |
|
760 |
friend |
|
友 |
By one’s side . . . crotch. [4] |
|
絎 絏 結 絖 |
|
761 |
slip out |
|
抜 |
Fingers . . . friend. [7] |
|
* |
missile |
|
殳 |
Although modern connotations are more suggestive, this primitive simply refers to something thrown as a weapon. Its elements: . [4] |
|
瑪 瑯 |
|
762 |
throw |
|
投 |
Fingers . . . missile. [7] |
|
763 |
drown |
|
没 |
Water . . . missile. [7] |
|
764 |
thigh |
|
股 |
Flesh . . . missile. [8] |
|
765 |
establishment |
|
設 |
Words . . . missile. [11] |
|
766 |
beat |
|
撃 |
Car . . . missile . . . hand. [15] |
|
瑰 瑳 瑶 |
|
767 |
husk |
|
殻 |
Samurai . . . superfluous . . . missile. [11] |
|
瑾 璃 璉 |
|
768 |
branch |
|
支 |
Needle . . . crotch. [4] |
|
璋 璞 |
|
769 |
skill |
|
技 |
Fingers . . . branch. [7] |
|
770 |
bough |
|
枝 |
Tree . . . branch. Take a moment to focus on the differences between a bough, a branch, and a twig (frame 319). [8] |
|
771 |
limb |
|
肢 |
Part of the body . . . branch. [8] |
|
772 |
stalk |
|
茎 |
Flower . . . spool. [8] |
|
773 |
suspicious |
|
怪 |
State of mind . . . spool. [8] |
|
774 |
lightly |
|
軽 |
Car . . . spool. [12] |
|
775 |
uncle |
|
叔 |
Above . . . little . . . crotch. [8] |
|
璧 環 璽 |
|
776 |
coach |
|
督 |
Uncle . . . eye. [13] |
|
777 |
loneliness |
|
寂 |
House . . . uncle. [11] |
|
778 |
graceful |
|
淑 |
Water . . . uncle. [11] |
|
779 |
anti- |
|
反 |
Cliff . . . crotch. [4] |
|
780 |
slope |
|
坂 |
Ground . . . anti-. [7] |
|
781 |
plank |
|
板 |
Tree . . . anti-. [8] |
|
782 |
return |
|
返 |
Anti- . . . road. [7] |
|
783 |
marketing |
|
販 |
Shells/money . . . anti-. [11] |
|
785 |
gentle |
|
妥 |
Vulture . . . woman. [7] |
|
* |
fledgling |
|
脆 |
The and combine to create the image of an aerie full of fledglings. [7] |
|
瓠 瓢 |
|
786 |
milk |
|
乳 |
Fledglings . . . hook. [8] |
|
787 |
floating |
|
浮 |
Water . . . fledglings. [10] |
|
788 |
lewd |
|
淫 |
Water . . . vulture . . . porter. [11] |
|
789 |
leader |
|
将 |
Turtle . . . vulture . . . glue. [10] |
|
790 |
exhort |
|
奨 |
Leader . . . St. Bernard dog. Do not confuse with urge (frame 300). [13] |
|
791 |
grab |
|
采 |
Vulture . . . tree. [8] |
|
792 |
pick |
|
採 |
Unlike pick up (frame 720), this character is used for picking fruits from trees. Its elements: finger . . . grab. [11] |
|
793 |
vegetable |
|
菜 |
Flower . . . grab. [11] |
|
* |
birdhouse |
|
脇 |
The and crown of the roof of a (whose chimney is displaced by the ) combine to give us a birdhouse. [6] |
|
瓣 瓦 |
|
794 |
accept |
|
受 |
Birdhouse . . . crotch. [8] |
|
795 |
impart |
|
授 |
Fingers . . . accept. [11] |
|
796 |
love |
|
愛 |
Birdhouse . . . heart . . . walking legs. [13] |
|
瓧 瓩 瓮 |
|
797 |
unclear |
|
曖 |
Sun . . . love. [17] |
|
* |
elbow |
|
厶 |
This pictograph of an arm bent at the elbow is obvious. [2] |
|
瓰 瓱 |
|
798 |
pay |
|
払 |
Finger . . . elbow. [5] |
|
799 |
wide |
|
広 |
Cave. . . elbow. [5] |
|
800 |
hooked |
|
勾 |
Bound up . . . elbow. Think of this key word in the sense of something that has been nabbed or caught. [4] |
|
801 |
broaden |
|
拡 |
Fingers . . . wide. The connection with the previous character is very close. Beware. [8] |
|
802 |
mineral |
|
鉱 |
Metal . . . wide. [13] |
|
803 |
valve |
|
弁 |
Elbow . . . two hands. [5] |
|
804 |
male |
|
雄 |
By one’s side . . . elbow . . . turkey. Its match can be found in frame 605. [12] |
|
805 |
pedestal |
|
台 |
Elbow . . . mouth. [5] |
|
806 |
neglect |
|
怠 |
Pedestal . . . heart. [9] |
|
807 |
reign |
|
治 |
Water . . . pedestal. [8] |
|
808 |
metallurgy |
|
冶 |
Ice . . . pedestal. [7] |
|
809 |
commence |
|
始 |
Woman . . . pedestal. [8] |
|
810 |
womb |
|
胎 |
Part of the body . . . pedestal. [9] |
|
811 |
window |
|
窓 |
House . . . human legs . . . elbow . . . heart. [11] |
|
瓲 瓶 瓷 瓸 |
|
812 |
gone |
|
去 |
Soil . . . elbow. [5] |
|
甁 甃 |
|
813 |
method |
|
法 |
Water . . . gone. [8] |
|
* |
wall |
|
脈 |
The hanging under a will become our element for a wall. [3] |
|
絛 絜 絞 |
|
814 |
meeting |
|
会 |
Meeting . . . wall. This is the full character for meeting, from which the abbreviated primitive that we met back in Lesson 12 gets its name. [6] |
|
甄 甅 |
|
815 |
climax |
|
至 |
Wall . . . soil. The key word allows for the full variety of connotations: to peak, to arrive at the end, and the like. [6] |
|
甌 甍 |
|
816 |
room |
|
室 |
House . . . climax. [9] |
|
817 |
arrival |
|
到 |
Climax . . . saber. [8] |
|
818 |
doth |
|
致 |
The archaic English form for “does” indicates a humble form of the verb “to do.” It is made up of climax and taskmaster. [10] |
|
819 |
mutually |
|
互 |
When you draw this character think of linking two walls together, one right side up and the other upside down. [4] |
|
絡 絢 絣 給 |
|
820 |
abandon |
|
棄 |
Infant . . . buckle (see frame 444) . . . tree. [13] |
|
甓 甕 甘 |
|
821 |
bring up |
|
育 |
Since the key word has to do with raising children to be strong both in mind and body, it is easy to coordinate the primitive elements: infant . . . flesh. [8] |
|
822 |
remove |
|
撤 |
Fingers . . . bring up . . . taskmaster. [15] |
|
甚 甜 甞 |
|
823 |
allot |
|
充 |
Infant . . . human legs. [6] |
|
824 |
gun |
|
銃 |
Metal . . . allot. [14] |
|
825 |
sulfur |
|
硫 |
Rock . . . infant . . . flood. [12] |
|
826 |
current |
|
流 |
Water . . . infant . . . flood. Be sure to distinguish the two water- primitives from one another in making your story. [10] |
|
827 |
license |
|
允 |
Elbow . . . human legs. [4] |
|
828 |
tempt |
|
唆 |
Mouth . . . license . . . walking legs. [10] |
|
絨 絮 統 |
Lesson 24
After that long excursus into arm and hand primitives, we will take a breather in this lesson with a much easier group built up from the kanji for exit and enter.
|
829 |
exit |
|
出 |
The kanji for exit pictures a series of mountain peaks coming out of the earth. Learn it together with the following frame. [5] |
|
生 産 甥 甦 用 |
|
830 |
mountain |
|
山 |
Note the clearer outline of a triangular mountain here. [3] |
|
紗 紘 紙 |
|
831 |
bungling |
|
拙 |
Fingers . . . exit. [8] |
|
832 |
boulder |
|
岩 |
Mountain . . . rock. [8] |
|
833 |
charcoal |
|
炭 |
Mountain . . . ashes. [9] |
|
834 |
branch off |
|
岐 |
Mountains . . . branch. [7] |
|
835 |
mountain pass |
|
峠 |
Mountain . . . above . . . below. [9] |
|
級 紛 紜 |
|
836 |
crumble |
|
崩 |
Mountain . . . companion. [11] |
|
837 |
secrecy |
|
密 |
House . . . invariably . . . mountain. [11] |
|
絲 絳 絵 |
|
838 |
honey |
|
蜜 |
House . . . invariably . . . insect. [14] |
|
839 |
storm |
|
嵐 |
Mountain . . . winds. [12] |
|
840 |
promontory |
|
崎 |
Mountain . . . strange. Hint: you might save yourself the trouble of a story here simply by recalling the kanji for cape (frame 164) and toying around with the differing images suggested by the key words promontory and cape. [11] |
|
841 |
bluffs |
|
崖 |
Mountain . . . cliff . . . ivy. [11] |
|
843 |
crowded |
|
込 |
Enter . . . road. [5] |
|
844 |
part |
|
分 |
Go in . . . dagger. [4] |
|
絶 絹 |
|
845 |
poverty |
|
貧 |
Part . . . shells/money. [11] |
|
846 |
partition |
|
頒 |
Part . . . head. [13] |
|
847 |
public |
|
公 |
Come in . . . elbows. Use the key word in its adjectival sense, not as a noun. [4] |
|
848 |
pine tree |
|
松 |
Tree . . . public. [8] |
|
849 |
venerable old man |
|
翁 |
Public . . . feathers. [10] |
|
850 |
sue |
|
訟 |
Words . . . public. [11] |
|
852 |
bathe |
|
浴 |
Water . . . valley. [10] |
|
853 |
contain |
|
容 |
This character depicts a house so large that it can contain an entire valley. [10] |
|
854 |
melt |
|
溶 |
Water . . . contain. [13] |
|
855 |
longing |
|
欲 |
Valley . . . yawn. Be sure to keep the key word distinct from pining (frame 683). [11] |
|
* |
gully |
|
脹 |
Asanabbreviationofthekanjifora,thisprimitivegetsits meaningasasmallvalleyorgully.[5] |
|
甯 田 |
Lesson 25
The following group of kanji revolve about primitive elements having to do with human beings. We shall have more to add to this set of primitives before we are through, but even the few we bring in here will enable us to learn quite a few new characters. We begin with another “roof” primitive.
|
859 |
prize |
|
賞 |
Outhouse . . . shellfish. [15] |
|
860 |
party |
|
党 |
Think of this key word as referring to a political party, not a gala affair. Its elements: human legs . . . sticking out of an outhouse window. [10] |
|
861 |
hall |
|
堂 |
Outhouse . . . land. [11] |
|
862 |
usual |
|
常 |
Outhouse . . . towel. [11] |
|
863 |
skirt |
|
裳 |
The key word refers to an ancient skirt once used as part of a woman’s costume. The primitives you have to work with are: outhouse . . . garment. [14] |
|
864 |
manipulate |
|
掌 |
Outhouse . . . hand. [12] |
|
866 |
waves |
|
波 |
Water’s . . . pelt. [8] |
|
867 |
old woman |
|
婆 |
Waves . . . woman. [11] |
|
868 |
expose |
|
披 |
Fingers . . . pelt. [8] |
|
869 |
rend |
|
破 |
Rock . . . pelt. [10] |
|
870 |
incur |
|
被 |
Cloak . . . pelt. [10] |
|
* |
bone |
|
歹 |
Thischaracterismeanttobeapictographofaboneattachedtoapiece offlesh(orvice versa.)Thefirststrokeservestokeepitdistinctfrom thecharacterfor(frame114).[4] |
|
畉 畊 畋 界 |
|
871 |
remainder |
|
残 |
Bones . . . (parade) float. [10] |
|
872 |
martyrdom |
|
殉 |
Bones . . . decameron. [10] |
|
873 |
particularly |
|
殊 |
Bones . . . vermilion. [10] |
|
874 |
augment |
|
殖 |
Bones . . . straightaway. [12] |
|
875 |
file |
|
列 |
Bones . . . saber. The sense of the key word is of people or things lined up in a row. [6] |
|
876 |
split |
|
裂 |
File . . . garment. [12] |
|
877 |
ardent |
|
烈 |
File . . . oven fire. [10] |
|
878 |
death |
|
死 |
Bones . . . spoon. Note how the first stroke is extended to the right, forming a sort of “roof” overhead. [6] |
|
879 |
interment |
|
葬 |
Flowers . . . death . . . two hands. Do not confuse with bury (frame 191).[12] |
|
* |
sunglasses |
|
舛 |
Thesetwoelementsareactuallythe full form whose abbreviation we learned as the characterforinframe42.Totheleft,weseethe familiarshapeof,andtotherightacompletelynewshape.The meaningwehaveassigned,sunglasses,isentirelyarbitrary.[7] |
|
畍 畏 畑 畔 瑩 留 畚 |
|
880 |
wink |
|
瞬 |
Eye . . . birdhouse . . . sunglasses. [18] |
|
881 |
ear |
|
耳 |
The pictograph for the ear looks much like that for eye, but note how the stroke order gives it a different look. [6] |
|
紫 紬 紮 累 細 紲 |
|
882 |
take |
|
取 |
Ear . . . crotch. [8] |
|
883 |
gist |
|
趣 |
Run . . . take. [15] |
|
884 |
utmost |
|
最 |
Sun . . . take. [12] |
|
885 |
snapshot |
|
撮 |
Finger . . . utmost. This character is used for taking photographs. Note how, conveniently, the element for “take” is included in it. [15] |
|
886 |
shame |
|
恥 |
Ear . . . heart. It is most rare to have the heart at the right, rather than at the bottom. Take advantage of this fact when you compose your story. [10] |
|
887 |
post |
|
職 |
The key word refers to one’s occupation, or position of employment. Its elements: ear . . . kazoo. [18] |
|
888 |
holy |
|
聖 |
Ear . . . mouth . . . king. [13] |
|
889 |
daring |
|
敢 |
Spike . . . ear . . . taskmaster. [12] |
|
890 |
listen |
|
聴 |
Ear . . . needle . . . eye . . . heart. Compare frame 427 for this and the following kanji, and then once again when you get to frame 950. [17] |
|
891 |
|
|
懐 |
State of mind . . . needle . . . eyes . . . garment. [16] |
|
* |
mandala |
|
曼 |
.[11] |
|
畛 畜 畝 |
|
892 |
ridicule |
|
慢 |
State of mind . . . mandala. [14] |
|
893 |
loose |
|
漫 |
Water . . . mandala. [14] |
|
894 |
buy |
|
買 |
Eye . . . shellfish. [12] |
|
895 |
placement |
|
置 |
Eye . . . straightaway. [13] |
|
896 |
penalty |
|
罰 |
Eye . . . words . . . saber. [14] |
|
897 |
rather |
|
寧 |
House . . . heart . . . eye . . . spike. [14] |
|
900 |
send back |
|
還 |
Road . . . eye . . . ceiling . . . mouth . . . scarf. [16] |
|
901 |
husband |
|
夫 |
The kanji for a husband or “head of the family” is based on the kanji for large and an extra line near the top for the “head.” Recall the kanji for heavens already learned back in frame 457, and be sure to keep your story for this kanji different. [4] |
|
畠 畢 畤 略 |
|
902 |
aid |
|
扶 |
Fingers . . . husband. [7] |
|
903 |
mountain stream |
|
渓 |
Water . . . vulture . . . husband. [11] |
|
904 |
standard |
|
規 |
Husband . . . see. [11] |
|
905 |
exchange |
|
替 |
Two husbands . . . day. [12] |
|
906 |
approve |
|
賛 |
Two husbands . . . shells. [15] |
|
907 |
submerge |
|
潜 |
Water . . . exchange. [15] |
|
908 |
lose |
|
失 |
“To lose” here takes the sense of “misplace,” not the sense of defeat, whose kanji we learned in frame 67. It pictures a husband with something falling from his side as he is walking along, something he loses. [5] |
|
畦 畧 |
|
909 |
iron |
|
鉄 |
Metal . . . to drop. [13] |
|
910 |
alternate |
|
迭 |
To drop . . . road. [8] |
|
912 |
princess |
|
姫 |
Woman . . . slave. [10] |
|
913 |
storehouse |
|
蔵 |
Flowers . . . parade . . . slaves. [15] |
|
絽 綀 綉 綏 |
|
914 |
entrails |
|
臓 |
Part of the body . . . storehouse. [19] |
|
經 継 |
|
915 |
intelligent |
|
賢 |
Slave . . . crotch . . . shellfish. [16] |
|
916 |
kidney |
|
腎 |
Slave . . . crotch . . . flesh. [13] |
|
917 |
strict |
|
堅 |
Slave . . . crotch . . . soil. [12] |
|
919 |
perusal |
|
覧 |
Slaves . . . reclining . . . floor . . . see. [17] |
|
920 |
gigantic |
|
巨 |
This kanji depicts a gigantic “pop-eye,” which accounts for its shape. Be sure not to confuse it with the slave (retainer) we just learned. [5] |
|
続 綛 綜 綟 綠 |
|
921 |
repel |
|
拒 |
Fingers . . . gigantic. [8] |
|
922 |
power |
|
力 |
With a little imagination, one can see a muscle in this simple, two-stroke character meaning power. [2] |
|
畴 當 |
|
|
Asaprimitive,eitherorcanbeused. |
|
923 |
man |
|
男 |
Rice fields . . . muscle. This character is the gender-specific man, not the generic human person of frame 951. [7] |
|
924 |
labor |
|
労 |
Schoolhouse . . . muscle. [7] |
|
925 |
recruit |
|
募 |
Graveyard . . . muscle. [12] |
|
926 |
inferiority |
|
劣 |
Few . . . muscles. [6] |
|
927 |
achievement |
|
功 |
Craft . . . muscle. [5] |
|
928 |
persuade |
|
勧 |
Pegasus . . . muscle. [13] |
|
929 |
toil |
|
努 |
Guy . . . muscle. [7] |
|
930 |
uprising |
|
勃 |
If you think of the ten as a little “cross” sitting atop the root of a house where we are used to seeing the “chimney” (drop), then you have the image of a chapel. (This combination will appear once more in this book: frame 1465.) To complete the picture for uprising, add: child . . . muscles. [9] |
|
931 |
encourage |
|
励 |
Cliff . . . ten thousand . . . muscle. [7] |
|
932 |
add |
|
加 |
Muscles . . . mouth. This is the only case in which the primitive for muscle appears on the left; note should be taken of the fact in composing one’s story. [5] |
|
933 |
congratulations |
|
賀 |
Add . . . shells. [12] |
|
936 |
threaten |
|
脅 |
Triceps . . . flesh. [10] |
|
937 |
co- |
|
協 |
This prefix should be kept distinct from inter (frame 222) and mutual (frame 819). Its elements: needle . . . triceps. [8] |
|
939 |
rhythm |
|
律 |
This character depicts a calligrapher’s brush and its rhythmic sway as it flows down a column writing kanji on the way. [9] |
|
940 |
restore |
|
復 |
Going . . . double back. [12] |
|
941 |
gain |
|
得 |
Column . . . nightbreak . . . glue. [11] |
|
942 |
accompany |
|
従 |
Column . . . animal horns . . . mending. [10] |
|
943 |
junior |
|
徒 |
Line . . . run. [10] |
|
944 |
wait |
|
待 |
Line . . . Buddhist temple. [9] |
|
945 |
journey |
|
往 |
Column . . . candlestick. This character has the special sense of journeying to someplace or other. [8] |
|
946 |
subjugate |
|
征 |
Column . . . correct. [8] |
|
947 |
diameter |
|
径 |
Line . . . spool. [8] |
|
948 |
he |
|
彼 |
Going . . . pelt. This kanji refers to the third person singular personal pronoun, generally in its masculine form. [8] |
|
949 |
duty |
|
役 |
Going . . . missile. [7] |
|
950 |
benevolence |
|
徳 |
Going . . . needle . . . eye . . . heart. Refer back now to the note in frame 890. [14] |
|
951 |
penetrate |
|
徹 |
Line . . . bring up . . . taskmaster. [15] |
|
952 |
indications |
|
徴 |
Line . . . mountain . . . king . . . taskmaster. [14] |
|
疉 疊 疋 疎 |
|
953 |
penal |
|
懲 |
Indications . . . heart. [18] |
|
954 |
delicate |
|
微 |
Line . . . mountain . . . beginning . . . taskmaster. [13] |
|
955 |
boulevard |
|
街 |
This is the character from which the sense of boulevard mentioned in frame 938 derives. Its elements: boulevard . . . ivy. [12] |
|
956 |
girder |
|
桁 |
Tree . . . going. [10] |
|
957 |
equilibrium |
|
衡 |
Boulevard . . . bound up . . . brains . . . St. Bernard dog. [16] |
|
疏 疑 疔 疚 疝 |
Lesson 26
We return once again to the world of plants and growing things, not yet to complete our collection of those primitives, but to focus on three elements that are among the most commonly found throughout the kanji.
Now and again, you will no doubt have observed, cross-reference is made to other kanji with similar key words. This can help avoid confusion if you check your earlier story and the connotation of its respective key word before proceeding with the kanji at hand. While it is impossible to know in advance which key words will cause confusion for which readers, I will continue to point out some of the likely problem cases.
|
958 |
draft |
|
稿 |
The key word connotes the preliminary composition of a plan or manuscript. Its elements: wheat . . . tall. [15] |
|
959 |
earnings |
|
稼 |
Wheat . . . house. [15] |
|
960 |
extent |
|
程 |
Wheat . . . display . Do not confuse with extremity (frame 231) or boundary (frame 523). [12] |
|
961 |
tax |
|
税 |
Wheat . . . devil. [12] |
|
962 |
immature |
|
稚 |
Wheat . . . turkey. [13] |
|
963 |
harmony |
|
和 |
Wheat . . . mouth. [8] |
|
964 |
shift |
|
移 |
Wheat . . . many. [11] |
|
965 |
second |
|
秒 |
The reference here is to a second of time. The elements: wheat . . . few. [9] |
|
966 |
autumn |
|
秋 |
Wheat . . . fire. [9] |
|
967 |
distress |
|
愁 |
Autumn . . . heart. [13] |
|
968 |
private |
|
私 |
Wheat . . . elbow. Like the characters for I (frame 17) and ego (frame 690), this kanji is also representative of the subject, with the special connotation of privacy. [7] |
|
969 |
regularity |
|
秩 |
Wheat . . . drop. [10] |
|
970 |
secret |
|
秘 |
Cereal . . . invariably. [10] |
|
971 |
appellation |
|
称 |
Wheat . . . reclining . . . little. [10] |
|
972 |
profit |
|
利 |
Wheat . . . saber. Be careful not to confuse with gain (frame 941) or earnings (frame 959). [7] |
|
973 |
pear tree |
|
梨 |
Profit . . . tree. [11] |
|
974 |
harvest |
|
穫 |
Wheat . . . flowers . . . vessels. Compare frames 756 and 757 for the right side. [18] |
|
975 |
ear of a plant |
|
穂 |
Wheat . . . favor. [15] |
|
976 |
rice plant |
|
稲 |
Wheat . . . vulture . . . olden times. [14] |
|
977 |
incense |
|
香 |
Wheat . . . sun. [9] |
|
978 |
seasons |
|
季 |
Wheat . . . child. [8] |
|
979 |
committee |
|
委 |
Wheat . . . woman. [8] |
|
980 |
excel |
|
秀 |
Wheat . . . fist. [7] |
|
981 |
transparent |
|
透 |
Excel . . . road-way. [10] |
|
982 |
entice |
|
誘 |
Words . . . excel. Compare beckon (frame 702), to urge (frame 300), seduce (frame 90), and encourage (frame 931) when choosing your connotation. [14] |
|
983 |
training |
|
稽 |
Wheat . . . chihuahua with one human leg . . . delicious. [15] |
|
984 |
cereals |
|
穀 |
Samurai . . . crown . . . wheat . . . missile. [14] |
|
985 |
germ |
|
菌 |
Flowers . . . pent in . . . wheat. [11] |
|
986 |
numb |
|
萎 |
Flowers . . . committee. [11] |
|
988 |
flour` |
|
粉 |
Rice . . . part. [10] |
|
989 |
sticky |
|
粘 |
Rice . . . fortune-telling. [11] |
|
990 |
grains |
|
粒 |
Rice . . . vase. [11] |
|
991 |
cosmetics |
|
粧 |
Rice . . . cave . . . soil. [12] |
|
992 |
astray |
|
迷 |
Road . . . United States. [9] |
|
993 |
chic |
|
粋 |
Rice . . . game of cricket. (See frame 121.) [10] |
|
994 |
riddle |
|
謎 |
Words . . . astray. [16] |
|
995 |
provisions |
|
糧 |
Rice . . . quantity. [18] |
|
996 |
chrysanthemum |
|
菊 |
Flower . . . bound up . . . rice. [11] |
|
997 |
core |
|
奥 |
A drop . . . pent in . . . rice . . . St. Bernard dog. Notice that the horizontal line of the bottom primitive doubles up as the final stroke for pent in. [12] |
|
998 |
number |
|
数 |
Rice . . . woman . . . taskmaster. [13] |
|
999 |
watchtower |
|
楼 |
Tree . . . rice . . . woman. [13] |
|
1000 |
sort |
|
類 |
Rice . . . St. Bernard dog . . . head. [18] |
|
1001 |
lacquer |
|
漆 |
Water . . . tree . . . umbrella . . . grains of rice. [14] |
|
1002 |
knee |
|
膝 |
Flesh . . . tree . . . umbrella . . . grains of rice. [13] |
|
1004 |
request |
|
求 |
Let the drop in the upper right-hand corner of this character close the right angle off to make an arrowhead. Whenever we find the needle with that drop in an element that has no other special meaning, we will take advantage of this primitive meaning. At the bottom, we see the grains of rice, the vertical line doubling up for the two elements. Do not confuse with petition (frame 143). [7] |
|
1005 |
ball |
|
球 |
Ball . . . request. [11] |
|
1006 |
salvation |
|
救 |
Request . . . taskmaster. [11] |
|
1008 |
laugh |
|
笑 |
Bamboo . . . witch. [10] |
|
1009 |
bamboo hat |
|
笠 |
Bamboo . . . vase. [11] |
|
1010 |
bamboo grass |
|
笹 |
Bamboo . . . generation. [11] |
|
1011 |
stationery |
|
|
Bamboo . . . float. Note that the drawing of the primitive for float uses the abbreviated form that has become standard in the general-use kanji and as we met it earlier in 桟, 銭, and 浅 (frames 393–395). Until such time as typesetting fonts make the adjustment, only the older form has been approved: 箋. Here we have opted for the simpler, avant garde drawing. [12] |
|
1012 |
muscle |
|
筋 |
Bamboo . . . part of the body . . . muscle. Here we see how the primitive meaning of muscle was derived from the kanji for muscle. [12] |
|
1013 |
box |
|
箱 |
Bamboo . . . inter-. [15] |
|
1014 |
writing brush |
|
筆 |
Bamboo . . . brush. [12] |
|
1015 |
cylinder |
|
筒 |
Bamboo . . . monks. [12] |
|
1016 |
etc. |
|
等 |
Bamboo . . . Buddhist temple. [12] |
|
1017 |
calculate |
|
算 |
Bamboo . . . eyes . . . two hands. [14] |
|
1018 |
solution |
|
答 |
Bamboo . . . fit. [12] |
|
1019 |
scheme |
|
策 |
Bamboo . . . belted tree (see frame 446). [12] |
|
1020 |
register |
|
簿 |
Bamboo . . . water . . . acupuncturist. [19] |
|
1021 |
fabricate |
|
築 |
Bamboo . . . craft . . . mediocre . . . wood/tree. [16] |
Lesson 27
This lesson will take us just beyond the halfway mark. From there on, it will all be downhill. The final uphill push will involve what appears to be the simplest of primitive elements. It was withheld until now because of the difficulty it would have caused earlier on.
|
1023 |
person |
|
人 |
The character for enter (frame 842) showed someone walking inwards (in terms of the direction of writing). The one for person, shown here, represents someone walking outwards. [2] |
|
痕 痘 |
|
|
Asaprimitive,itcankeepitskanjiformexceptwhenitappearstothe left(itsnormalposition),whereitismadetostandupintheform 亻 Theprimitivemeaningisanothermatter.Theabstractnotionofsooftenhasarelationtothemeaningofthekanjithat confusionreadilysetsin.Somanyofthepreviousstorieshaveincluded peopleinthemthatsimplytouseforaprimitivemeaningwould berisky.Weneedtobemorespecific,tofocusononeparticular.Trytochoosesomeonewhohasnotfiguredinthestoriesso far,perhapsacolorfulmemberofthefamilyorafriendwhomyouhave knownforalongtime.Thatindividualwillappearagainandagain,sobe suretochoosesomeonewhoexcitesyourimagination. |
|
1024 |
assistant |
|
佐 |
Person . . . left. [7] |
|
1025 |
partner |
|
侶 |
Person . . . spine. [9] |
|
1026 |
however |
|
但 |
Person . . . nightbreak. [7] |
|
1027 |
dwell |
|
住 |
Person . . . candlestick. [7] |
|
1028 |
rank |
|
位 |
Person . . . vase. [7] |
|
1029 |
go-between |
|
仲 |
Person . . . in. [6] |
|
1030 |
body |
|
体 |
Person . . . book. [7] |
|
1031 |
remote |
|
悠 |
Person . . . walking stick . . . taskmaster . . . heart. [11] |
|
1032 |
affair |
|
件 |
Person . . . cow. [6] |
|
1033 |
attend |
|
仕 |
Person . . . samurai. The key word means to wait on someone or serve them. [5] |
|
1034 |
other |
|
他 |
Person . . . scorpion. [5] |
|
1035 |
prostrated |
|
伏 |
Person . . . chihuahua. [6] |
|
1036 |
transmit |
|
伝 |
Person . . . rising cloud. Hint: the Amerindians’ smoke signals can help provide a good image for this kanji, whose key word is meant to include transmissions of all sorts. [6] |
|
1037 |
Buddha |
|
仏 |
Person . . . elbow. [4] |
|
1038 |
rest |
|
休 |
Person . . . tree. Do not confuse with relax (frame 202).[6] |
|
1039 |
provisional |
|
仮 |
Person . . . anti-. [6] |
|
1040 |
performing artist |
|
伎 |
Person . . . branch. [6] |
|
1041 |
chief |
|
伯 |
Person . . . white dove. [7] |
|
1042 |
vulgar |
|
俗 |
Person . . . valley. The key word should be taken in its older sense of “popular” or “commonplace.” [9] |
|
1043 |
faith |
|
信 |
Person . . . words. [9] |
|
1044 |
excellent |
|
佳 |
Person . . . ivy. To distinguish from excel (frame 980), eminent (frame 52), esteem (frame 196), and exquisite (frame 130), give the key word its own unique connotation. [8] |
|
1045 |
reliant |
|
依 |
Person . . . garment. [8] |
|
1046 |
example |
|
例 |
Person . . . file. [8] |
|
1047 |
individual |
|
個 |
Person . . . harden. [10] |
|
1048 |
healthy |
|
健 |
Person . . . build. [11] |
|
痙 痛 痞 |
|
1049 |
side |
|
側 |
Person . . . rule. See frame 92 for help. [11] |
|
1050 |
waiter |
|
侍 |
Person . . . Buddhist temple. The key word is deceptively modern, but the kanji is actually another way of writing “samurai.” Be careful not to confuse with attend (frame 1033).[8] |
|
1051 |
halt |
|
停 |
Person . . . pavilion. [11] |
|
1052 |
price |
|
値 |
Person . . . straightaway. [10] |
|
1053 |
emulate |
|
倣 |
Person . . . set free. [10] |
|
1055 |
overthrow |
|
倒 |
Person . . . arrival. [10] |
|
1056 |
spy |
|
偵 |
Person . . . upright. [11] |
|
1057 |
Buddhist priest |
|
僧 |
Person . . . increase. [13] |
|
1058 |
hundred million |
|
億 |
Person . . . idea. [15] |
|
1059 |
ceremony |
|
儀 |
Person . . . righteousness. [15] |
|
1060 |
reparation |
|
償 |
Person . . . prize. [17] |
|
1061 |
hermit |
|
仙 |
Person . . . mountain. [5] |
|
1062 |
sponsor |
|
催 |
Hermit . . . turkey. Note what has happened to the mountain in the element for hermit. In order to make room for the turkey, it was raised and condensed. [13] |
|
1063 |
humanity |
|
仁 |
To refer to the fullness of humanity that can only be achieved in dialogue with another (person . . . two), Confucius used this character. [4] |
|
1064 |
scorn |
|
侮 |
Person . . . every. [8] |
|
1065 |
use |
|
使 |
Person . . . officer. [8] |
|
1066 |
convenience |
|
便 |
Person . . grow late. Hint: this kanji also means that unmentionable material that one disposes of when one goes to the “conveniences.” [9] |
|
1067 |
double |
|
倍 |
Person . . . muzzle. Do not confuse with the kanji for duplicate (frame 504). [10] |
|
1068 |
tenderness |
|
優 |
Person . . melancholy. [17] |
|
1070 |
inn |
|
宿 |
House . . . person . . . hundred. [11] |
|
1071 |
wound |
|
傷 |
Person . . . reclining . . . piggy bank. [13] |
|
1072 |
protect |
|
保 |
Person . . . mouth . . . tree. [9] |
|
1073 |
praise |
|
褒 |
Top hat and scarf . . . protect. Note that the “tree” in protect becomes a wooden pole here. [15] |
|
1074 |
greatness |
|
傑 |
Person . . . sunglasses . . . tree. [13] |
|
1076 |
token |
|
符 |
Bamboo . . . adhere. [11] |
|
1077 |
municipality |
|
府 |
Cave . . . adhere. [8] |
|
1078 |
responsibility |
|
任 |
Person . . . porter. [6] |
|
1079 |
fare |
|
賃 |
Responsibility . . . shells/money. [13] |
|
1080 |
substitute |
|
代 |
Person . . . arrow. [5] |
|
1081 |
sack |
|
袋 |
Substitute . . . garment. [11] |
|
1082 |
lend |
|
貸 |
Substitute . . . shells/money. [12] |
|
1083 |
change |
|
化 |
Person . . . spoon. [4] |
|
1084 |
flower |
|
花 |
Flower . . . change. [7] |
|
1085 |
freight |
|
貨 |
Change . . . shells. [11] |
|
1086 |
lean |
|
傾 |
Change . . . head. The key word has the sense of leaning on or toward someone or something. [13] |
|
1087 |
what |
|
何 |
Person . . . can. [7] |
|
1088 |
baggage |
|
荷 |
Flowers . . . what. [10] |
|
1089 |
sagacious |
|
俊 |
Person . . . license . . . walking legs. [9] |
|
1090 |
bystander |
|
傍 |
Person . . . stand up. . . crown . . . compass. [12] |
|
1091 |
myself |
|
俺 |
The key word refers to a very familiar way of referring to oneself, typically used by men. Its component elements: person . . . St. Bernard dog . . . eel. [10] |
|
1092 |
long time |
|
久 |
This character uses the diagonal sweep of the second stroke to double up for bound up and a person. Think of a mummy, and the key word will not be far behind. [3] |
|
痢 痣 痩 |
|
1093 |
furrow |
|
畝 |
Think of the three kinds of furrows shown here in this character—a top hat’s rim, a rice field’s ridges, and the wrinkles that show you’ve been around a long time. [10] |
|
1094 |
captured |
|
囚 |
Pent in . . . person. [5] |
|
1095 |
inside |
|
内 |
Belt . . . person. Note that we cannot use the primitive meaning of hood here because the person runs through the element, not under it. [4] |
|
痰 痲 |
|
1097 |
design |
|
柄 |
Tree . . . third class. [9] |
|
1099 |
rot |
|
腐 |
Municipality . . . meat. [14] |
|
* |
assembly line |
|
从 |
Theduplicationofthekanjiforgivesusthisprimitivefor assembly line.Perhapsyoucanimagineclonesofyourchosen rolling offanassemblylineinafactory.[4] |
|
1100 |
sit |
|
座 |
Cave . . . assembly line . . . soil. [10] |
|
饑 饒 饕 饗 首 |
|
1101 |
sprain |
|
挫 |
Fingers . . . assembly line . . . soil. [10] |
|
1102 |
graduate |
|
卒 |
Top hat . . . assembly line . . . needle. [8] |
|
1103 |
umbrella |
|
傘 |
Umbrella . . . two assembly lines . . . needle. [12] |
|
馗 馘 香 馞 馥 |
Lesson 28
In this lesson we pick up a group of unconnected characters and elements that have fallen between the cracks of the previous lessons, mainly because of the rarity of the characters themselves, of their primitive elements, or of the way in which they are written. In a later lesson, we will do this once again.
|
* |
plow |
|
|
Takethisasapictographofaplow.[2] |
|
瑤 纖 |
|
1106 |
similar |
|
似 |
Be sure to keep this key word distinct from likeness (frame 104). Its elements: person . . . by means of. [7] |
|
* |
puzzle |
|
并 |
Thinkofthiselementasapicturepuzzleinwhichthepiecesinterlock. Itselements:.[6] |
|
痼 痾 痿 瘁 |
|
1107 |
join |
|
併 |
The sense of the key word is one of joining things together that were previously separate. Its elements: person . . . puzzle. [8] |
|
1108 |
tile |
|
瓦 |
Ceiling . . . plow . . . fishhook . . . a drop of. [5] |
|
綮 綯 綰 綱 網 |
|
1109 |
flower pot |
|
瓶 |
Puzzle . . . tile. [11] |
|
1111 |
occupation |
|
営 |
Schoolhouse . . . spine. [12] |
|
1112 |
virtuous |
|
善 |
Sheep . . . horns . . . mouth. Pay special attention to the writing of this character. [12] |
|
綴 綵 綷 綸 |
|
1113 |
dining tray |
|
膳 |
Flesh . . . virtuous. [16] |
|
1115 |
night |
|
夜 |
First of all, be sure not to confuse the connotations of night with those of evening (frame 114) and nightbreak (frame 30). Its elements: top hat . . . person . . .walking legs . . . drop. [8] |
|
緇 緊 緋 総 |
|
1116 |
fluid |
|
液 |
Water . . . night. [11] |
|
1117 |
hillock |
|
塚 |
Soil . . . crown . . . sow. Compare frame 582. [12] |
|
* |
shredder |
|
|
Theelementontheleftlookslikewitharunningthrough it,butwewoulddobesttothinkofitintermsofitswritingorder:.Ontheright,ofcourse,the. [12] |
|
瘉瘋瘍瘟 |
|
1118 |
cash |
|
幣 |
Shredder . . . towel. [15] |
|
1119 |
cover over |
|
蔽 |
Flower . . . shredder. [15] |
|
1120 |
abuse |
|
弊 |
Shredder . . . two hands. [15] |
|
1122 |
interchange |
|
換 |
Fingers . . . four St. Bernard dogs bound up. [12] |
|
1123 |
dissolve |
|
融 |
Ceiling . . . mouth . . . hood . . . human legs . . . spike . . . insect. This is the maximum number of elements to appear in any story in the book. [16] |
|
瘠 瘡 |
Lesson 29
We come now to a rather simple group of primitives, built up from the three elements that represent banners, knots, and flags.
|
* |
banner |
|
|
Herewehaveauniqueenclosuremadeupoftwoelements:and.Thinkofthebannerasastandardforrallyingaround; thenimagineacrowdbeforea(presumably togivethema “direction”inlife).[6] |
|
瘢 瘤 |
|
1124 |
alms |
|
施 |
Banner . . . scorpion. [9] |
|
1125 |
rotation |
|
旋 |
A banner . . . a zoo. Hint: think of a merry-go-round. [11] |
|
1126 |
play |
|
遊 |
Banners . . . children . . . road. [12] |
|
1129 |
thing |
|
物 |
Cow . . . knot. [8] |
|
1130 |
easy |
|
易 |
Sun . . . knot. [8] |
|
1131 |
grant |
|
賜 |
Shells . . . easy. [15] |
|
* |
flag |
|
尸 |
Thepictographicrepresentationofthiselementisobvious.Providedyoucan holdyourimaginationincheckforthefirstexample,youmightbestimagine yourownnationalflagincomposingyourstories.[3] |
|
瘧 瘰 瘴 |
|
1132 |
urine |
|
尿 |
Flag . . . water. [7] |
|
1133 |
nun |
|
尼 |
Flag . . . spoon. [5] |
|
1134 |
buttocks |
|
尻 |
Flag . . . baseball team. [5] |
|
1135 |
mud |
|
泥 |
Water . . . nun. [8] |
|
1136 |
fence |
|
塀 |
Soil . . . flag . . . puzzle. [12] |
|
1137 |
footgear |
|
履 |
Flag . . . restore. [15] |
|
1138 |
roof |
|
屋 |
Flag . . . climax. Note that this kanji has no relation to the drawing of a “roof” used in the primitive for house (page 85). [9] |
|
1139 |
grip |
|
握 |
Fingers . . . roof. [12] |
|
1140 |
yield |
|
屈 |
Flag . . . exit. [8] |
|
1141 |
dig |
|
掘 |
Fingers . . . yield. [11] |
|
1142 |
ditch |
|
堀 |
Soil . . . yield. [11] |
|
1143 |
reside |
|
居 |
Flag . . . old. Do not confuse with dwell (frame 1027). [8] |
|
1144 |
set |
|
据 |
Fingers . . . reside. [11] |
|
1145 |
hem |
|
裾 |
Cloak . . . reside. [13] |
|
1146 |
stratum |
|
層 |
Flag . . . increase. [14] |
|
1147 |
bureau |
|
局 |
Flag . . . phrase. Note how the flag’s long stroke doubles up for the first stroke of phrase. [7] |
|
1148 |
slow |
|
遅 |
Flag . . . sheep . . . road. [12] |
|
1149 |
leak |
|
漏 |
Water . . . flag . . . rain. [14] |
|
1150 |
printing |
|
刷 |
Flag . . . towel . . . saber. [8] |
|
1152 |
exhaust |
|
尽 |
Shakuhachi . . . ice. [6] |
|
1153 |
swamp |
|
沢 |
Water . . . shakuhachi. [7] |
|
1154 |
translate |
|
訳 |
Words . . . shakuhachi. [11] |
|
1155 |
choose |
|
択 |
Fingers . . . shakuhachi. [7] |
|
1156 |
daytime |
|
昼 |
Shakuhachi . . . nightbreak. [9] |
|
1157 |
door |
|
戸 |
Ceiling . . . flag. [4] |
|
1158 |
shoulder |
|
肩 |
Door . . . flesh. [8] |
|
1159 |
tassel |
|
房 |
Door . . . compass. [8] |
|
1160 |
fan |
|
扇 |
Door . . . wings. [10] |
|
1161 |
hearth |
|
炉 |
Hearth fire . . . door. [8] |
|
1162 |
re- |
|
戻 |
The key word signals a “coming back” or return to some place or activity. Its elements: door . . . St. Bernard dog. [7] |
|
1163 |
tears |
|
涙 |
Water . . . re-. Do not confuse with cry (frame 463). [10] |
|
1164 |
employ |
|
雇 |
Door . . . turkey. Be sure to keep distinct from both employee (frame 59) and use (frame 1065). [12] |
|
1165 |
look back |
|
顧 |
Employ . . . head. [21] |
|
1166 |
disclose |
|
啓 |
Door . . . taskmaster . . . mouth. [11] |
Lesson 30
In this lesson we pick up a series of primitives related pictographically to one another and based on the image of a seed. But first we include a stray element that does not really fit into any of our other categories but is very useful in forming some common and elementary kanji (in fact, 18 of them already at this point), namely, the altar.
|
1168 |
salutation |
|
礼 |
This key word refers to the polite bows and ceremonious forms of salutation so important in Japanese culture. Its elements: altar . . . hook. [5] |
|
1169 |
auspicious |
|
祥 |
Altar . . . sheep. [10] |
|
1170 |
celebrate |
|
祝 |
Altar . . . teenager. [9] |
|
1171 |
blessing |
|
福 |
Altar . . . wealth. [13] |
|
1172 |
welfare |
|
祉 |
Altar . . . footprint. [8] |
|
1173 |
company |
|
社 |
Altar . . . soil. The company referred to here is that of the modern business world. [7] |
|
1174 |
inspection |
|
視 |
Altar . . . see. [11] |
|
1176 |
military officer |
|
尉 |
Flag . . . altar . . . glue. [11] |
|
1177 |
consolation |
|
慰 |
Military officer . . . heart. [15] |
|
1178 |
goodwill |
|
款 |
Samurai . . . altar . . . yawning. [12] |
|
1179 |
prohibition |
|
禁 |
Grove . . . altar. [13] |
|
1180 |
collar |
|
襟 |
Cloak . . . prohibition. [18] |
|
1181 |
religion |
|
宗 |
House . . . altar. [8] |
|
1182 |
adore |
|
崇 |
Mountain . . . religion. [11] |
|
1183 |
ritual |
|
祭 |
Flesh . . . crotch . . . altar. Note how the second element is cut short, giving a tent-like effect to the character. [11] |
|
1184 |
guess |
|
察 |
“Guess” here has the sense of a measured conjecture. Its elements: house . . . ritual. [14] |
|
1185 |
grate |
|
擦 |
Fingers . . . guess. [17] |
|
1186 |
wherefore |
|
由 |
The “wherefore” of this kanji explains the reason or origin of a thing. It does this graphically by depicting a seed in a rice field sending up a single sprout, which is the whole why and wherefore of the seed’s falling in the earth and dying. (When the flower appears, you will recall from frame 249, we have a full seedling.) [5] |
|
饉 饋 饌 饐 |
|
|
As a primitive, in conformity to the explanation above, this kanji will be taken to mean a . |
|
1187 |
pluck |
|
抽 |
Fingers . . . sprout. [8] |
|
1188 |
oil |
|
油 |
Water . . . sprout. [8] |
|
1189 |
sleeve |
|
袖 |
Cloak . . . sprout. [10] |
|
1190 |
mid-air |
|
宙 |
House . . . sprout. [8] |
|
1191 |
deliver |
|
届 |
Flag . . . sprout. [8] |
|
1192 |
flute |
|
笛 |
Bamboo . . . sprout. [11] |
|
1193 |
axis |
|
軸 |
Car . . . sprout. [12] |
|
1195 |
push |
|
押 |
Fingers . . . roots. Compare and contrast with pluck (frame 1187). [8] |
|
1196 |
headland |
|
岬 |
Like the cape (frame 164) and the promontory (frame 840), the headland refers to a jut of land. Its elements: mountain . . . roots. [8] |
|
1197 |
insert |
|
挿 |
Fingers . . . thousand . . . roots. Observe how the writing order does not follow the elements in order, because the final stroke is used for two different elements. [10] |
|
締 緡 緤 編 |
|
1199 |
expand |
|
伸 |
Person . . . monkey. [7] |
|
1200 |
gods |
|
神 |
Altar . . . monkey. [9] |
|
1201 |
search |
|
捜 |
Fingers . . . monkey . . . crotch. [10] |
|
1203 |
confectionary |
|
菓 |
Flowers . . . fruits. [11] |
|
1204 |
chapter |
|
課 |
Words . . . fruit. [15] |
|
1205 |
naked |
|
裸 |
Cloak . . . fruit. [13] |
Lesson 31
By now you will have learned to handle a great number of very difficult kanji with perfect ease and without fear of forgetting. Some others, of course, will take review. But let us focus on the ones you are most confident about and can write most fluently, in order to add a remark about what role the stories, plots, and primitives should continue to play even after you have learned a character to your own satisfaction.
This course has been designed to move in steps from the full-bodied story (Part One) to the skeletal plot (Part Two) to the heap of bones we call primitive elements (Part Three). This also happens roughly to be the way memory works. At first the full story is necessary (as a rule, for every kanji, no matter how simple it appears), in that it enables you to focus your attention and your interest on the vivid images of the primitives, which in turn dictate how you write the character. Once the image has strutted through the full light of imagination, it will pass on, leaving its footprints on the interstices of the brain in some mysterious way. And those footprints are often enough of a clue about the nature of the beast to enable you to reconstruct the plot in broad outlines. Should you need to, you can nearly always follow the tracks back to their source and recall your whole story, but that is generally unnecessary. The third stage occurs when even the plot is unnecessary, and the key word by itself suggests a certain number of primitive meanings; or conversely, when seeing a kanji at once conjures up a specific key word. Here again, the plot is still within reach if needed, but not worth bothering with once it has fulfilled its task of providing the proper primitive elements.
There is yet a fourth stage to be reached, as you have probably realized by now, but one you ought not trust until you have completed the full list of the kanji given here. In this stage, the primitive elements are suggested according to form without any immediate association to meaning. Quite early on, you will recall, we insisted that visual memory is to be discarded in favor of imaginative memory. It may now be clear just why that is so. But it should also be getting clear that visual memory deserves a suitable role of some sort or other, once it has a solid foundation. This is a process not to be rushed, however appealing its rewards in terms of writing fluency.
Insofar as you have experienced these things in your own study, fears about the inadequacy of the key words should be greatly allayed. For in much the same way that the character slowly finds its way into the fabric of memory and muscular habits, the key word will gradually give way to a key concept distinct from the particular English word used to express it. Hence the substitution of a Japanese word—or even a number of words—will prove no stumbling block. Quite the contrary, it will help avoid confusion between key words with family resemblances.
In short, the number of steps required to learn the Japanese writing system has not been increased by what we have been doing. It has simply become more pronounced than it is in traditional methods of drawing and redrawing the kanji hundreds of times until they are learned, and in that way the whole process has become much more efficient. Pausing to think about just what your mind has been doing through this book should make the ideas mentioned in the Introduction much more plausible now than they must have seemed way back then.
But we must be on our way again, this time down a road marked “tools.”
|
1206 |
ax |
|
斤 |
This character represents a picture of an ax, the two vertical lines being the handle and the horizontal strokes of the blade. Note the writing order carefully. [4] |
|
癈 癌 癒 癖 |
|
1207 |
chop |
|
析 |
Tree . . . ax. [8] |
|
1208 |
place |
|
所 |
Door . . . ax. [8] |
|
1209 |
pray |
|
祈 |
Altar . . . ax. [8] |
|
1210 |
near |
|
近 |
Ax . . . road. Be careful not to confuse with draw near (frame 204) or bystander (frame 1090). [7] |
|
1211 |
fold |
|
折 |
Fingers . . . ax. Hint: make an image out of the Japanese art of “origami” (paper-folding). [7] |
|
1212 |
philosophy |
|
哲 |
Fold . . . mouth. [10] |
|
1213 |
departed |
|
逝 |
The connotation is of a “dearly departed” who has passed away. The elements: fold . . . road. [10] |
|
1214 |
vow |
|
誓 |
Fold . . . words. [14] |
|
1215 |
chop off |
|
斬 |
Car . . . ax. [11] |
|
1216 |
temporarily |
|
暫 |
Chop off . . . days. [15] |
|
1217 |
steadily |
|
漸 |
Water . . . chop off. [14] |
|
1218 |
severance |
|
断 |
Hook . . . rice . . . ax. [11] |
|
1219 |
substance |
|
質 |
Two axes . . . shells. [15] |
|
1220 |
reject |
|
斥 |
Ax . . . a drop of. [5] |
|
1221 |
accusation |
|
訴 |
Words . . . reject. [12] |
|
* |
saw |
|
乍 |
The saw in this primitive is distinguished from the primitive for by the extra “teeth” on the blade. [5] |
|
癢 癧 癨 癩 癪 |
|
1222 |
yesterday |
|
昨 |
Day . . . saw. [9] |
|
1223 |
lie |
|
詐 |
The lie in this character refers to falsehoods and fibs. Its elements: words . . . saw. [12] |
|
1224 |
make |
|
作 |
Person . . . saw. [7] |
|
* |
broom |
|
|
The pictographic representation here is of the bristles on the head of a broom. Note that the second stroke stops short without cutting through the second. [3] |
|
癘 癜 癡 |
|
1225 |
snow |
|
雪 |
Rain that undergoes a change so that it can be swept aside with a broom is snow. [11] |
|
1226 |
record |
|
録 |
Metal . . . broom . . . grains of rice. Note how the final stroke of the broom is extended slightly when an element below is attached directly to it. [16] |
|
1227 |
peel off |
|
剥 |
Broom . . . grains of rice . . . saber. [10] |
|
1228 |
inquire |
|
尋 |
Broom . . . craft . . . mouth . . . glue. [12] |
|
1229 |
hurry |
|
急 |
Bound up . . . broom . . . heart. [9] |
|
1230 |
calm |
|
穏 |
Wheat . . . vulture . . . broom . . . heart. [16] |
|
1231 |
encroach |
|
侵 |
Person . . . broom . . . crown . . . crotch. Gather the elements on the right into a composite image that can serve you in the next two frames. [9] |
|
1232 |
immersed |
|
浸 |
Water . . . broom . . . crown . . . crotch. [10] |
|
1233 |
lie down |
|
寝 |
Do not confuse this key word with either the element for reclining or the character for prostrated (frame 1035). Its primitive elements are: house . . . turtle . . . broom . . . crown . . . crotch. [13] |
|
1234 |
lady |
|
婦 |
Woman . . . broom . . . apron. [11] |
|
1235 |
sweep |
|
掃 |
Fingers . . . broom . . . apron. [11] |
|
1236 |
hit |
|
当 |
Little . . . broom. [6] |
|
1237 |
glossary |
|
彙 |
The top primitive of this character is actually an old form of broom 彑. The remaining elements are: crown . . . fruit. [13] |
|
1238 |
contend |
|
争 |
Bound up . . . rake. [6] |
|
1239 |
clean |
|
浄 |
Water . . . contend. [9] |
|
1240 |
matter |
|
事 |
This key word here refers to abstract matters. The elements are: one . . . mouth . . . rake. Note how the rake handle reaches out the top and bottom of the character. [8] |
|
1242 |
sugar |
|
糖 |
Rice . . . T’ang. [16] |
|
* |
sieve |
|
|
A and the at the bottom give us a hint of winnowing, which relates clearly to the meaning of a sieve. [8] |
|
癶 癸 |
|
1243 |
sane |
|
康 |
Cave . . . sieve. [11] |
|
1244 |
apprehend |
|
逮 |
Think of apprehending criminals. The elements are: sieve . . . road. [11] |
|
* |
mop |
|
尹 |
The only thing distinguishing a mop from a is the bent handle that does not cut through the top horizontal stroke. It depicts the swish-swash motion of a mop. [4] |
|
緩 緬 緯 緲 |
|
1246 |
old boy |
|
君 |
The somewhat highbrow British term of address is chosen here to represent the kanji for a form of address used towards one’s juniors. It is composed of: mop . . . mouth. [7] |
|
1247 |
flock |
|
群 |
Old boys . . . sheep. [13] |
|
* |
comb |
|
而 |
The pictograph of a comb is clearly visible in this primitive element. [6] |
|
発 登 發 白 百 皀 |
|
1248 |
-proof |
|
耐 |
The key word is a suffix used to indicate “safe from” or “protected against,” as in the words rustproof, waterproof, and fireproof. It is composed of: comb . . . glue. [9] |
|
1249 |
demand |
|
需 |
The sense of demand is best captured by thinking of the economic principle of “supply and demand.” The primitives: rain . . . comb. [14] |
|
1250 |
Confucian |
|
儒 |
Person . . . demand. [16] |
|
1251 |
edge |
|
端 |
Vase . . . mountain . . . comb. [14] |
|
1252 |
both |
|
両 |
Ceiling . . . belt . . . mountain. Note that the writing order follows the order in which the primitives are given here. [6] |
|
1253 |
full |
|
満 |
Water . . . flowers . . . both. Given the abstract nature of this last primitive, you may want to borrow the image from the previous frame. [12] |
|
1255 |
tooth |
|
歯 |
Footprint . . . rice . . . shovel. [12] |
|
1257 |
cadet |
|
曹 |
This character is written in the order of its elements: one . . . bend . . . sun. [11] |
|
1258 |
encounter |
|
遭 |
Cadet . . . road. [14] |
|
1259 |
rowing |
|
漕 |
Water . . . cadet. [14] |
|
1260 |
vat |
|
槽 |
Tree . . . cadet. [15] |
|
1262 |
fee |
|
料 |
Measuring cup . . . rice. [10] |
|
1263 |
department |
|
科 |
Think here of the faculty or department you entered in university, using the elements: measuring cup . . . wheat. [9] |
|
1265 |
utilize |
|
用 |
Flesh . . . walking stick. Be sure to keep this key word distinct from that for use (frame 1065). The stroke order is exactly as you would expect it from the order of the primitive elements as given. [5] |
|
As a primitive element, we shall substitute the image of a , perhaps the most of all tools around the house. |
|
1266 |
comfortable |
|
庸 |
Cave . . . rake . . . screwdriver. [11] |
Lesson 32
In this lesson we pick up a few primitives of quantity to complement those we learned in Lesson 7, as well as some others related closely to elements learned earlier.
|
* |
salad |
|
|
The element for joins with the long horizontal stroke beneath it to create the picture of a bowl of salad. [4] |
|
1268 |
once upon a time |
|
昔 |
Salad . . . days. This is the character with which Japanese fairy tales commonly begin. [8] |
|
1269 |
confused |
|
錯 |
Metal . . . once upon a time. [16] |
|
1270 |
borrow |
|
借 |
Person . . . once upon a time. [10] |
|
1271 |
pity |
|
惜 |
State of mind . . . once upon a time. The sense of the key word is that of a lost opportunity or bad turn of affairs, as in the phrase “What a pity!” [11] |
|
1272 |
set aside |
|
措 |
Fingers . . . once upon a time. [11] |
|
1273 |
scatter |
|
散 |
Salad . . . flesh . . taskmaster. [12] |
|
* |
caverns |
|
|
The primitive for caverns differs from that for by the presence of the primitive for suggesting a maze of underground [7] |
|
1275 |
commoner |
|
庶 |
Caverns . . . oven fire. [11] |
|
1276 |
intercept |
|
遮 |
Commoner . . . road. [14] |
|
1277 |
seat |
|
席 |
Caverns . . . towel. [10] |
|
1278 |
degrees |
|
度 |
This key word refers to a gradation of measurement, not to academic diplomas. Its primitives: caverns . . . crotch. [9] |
|
1279 |
transit |
|
渡 |
Water . . . degrees. [12] |
|
1280 |
bustle |
|
奔 |
The hustle and bustle of this character is depicted by a St. Bernard dog and a haystack. [8] |
|
1281 |
erupt |
|
噴 |
Mouth . . . haystack . . . clams. [15] |
|
1282 |
tomb |
|
墳 |
Soil . . . haystack . . . clams. In order not to confuse this kanji with that for a grave (frame 246), something like the image of an Egyptian tomb should be adopted, with all its special connotations. [15] |
|
1283 |
aroused |
|
憤 |
State of mind . . . haystack . . . clams. [15] |
|
* |
straw man |
|
尭 |
The two added to the (with the horizontal stroke to keep the two parts distinct from one another and avoid an ugly tangle) give us a straw man. [8] |
|
羅 羆 羇 |
|
1284 |
bake |
|
焼 |
Hearth . . . straw man. Take care to distinguish this kanji from cook (frame 507) and burn (frame 549) when you compose your story. [12] |
|
1285 |
daybreak |
|
暁 |
Sun . . . straw man. [12] |
|
1287 |
consort |
|
伴 |
Person . . . half. [7] |
|
1288 |
paddy ridge |
|
畔 |
Rice field . . . half. The key word here refers to the ridges that rise up between the sections of a rice paddy. [10] |
|
1290 |
fist |
|
拳 |
Quarter . . . hand. Be careful to keep this key word distinct from the primitive element of the same meaning we met back on page 221. [10] |
|
1291 |
ticket |
|
券 |
Quarter . . . dagger. [8] |
|
1292 |
scroll |
|
巻 |
Quarter . . . snake. The key word refers to a manuscript rolled up into a scroll, not to a hanging scroll (frame 435). [9] |
|
1293 |
sphere |
|
圏 |
This key word refers to a realm or orbit, not to a ball. Its elements: pent in . . . scroll. [12] |
|
1294 |
victory |
|
勝 |
Moon . . . quarter . . . muscle. [12] |
|
1295 |
wisteria |
|
藤 |
Flower . . . moon . . . quarter . . . grains of rice. [18] |
|
1296 |
facsimile |
|
謄 |
Moon . . . quarter . . . words. [17] |
|
1300 |
destitution |
|
乏 |
Eyedropper . . . building blocks. [4] |
|
1301 |
turf |
|
芝 |
Flowers . . . building blocks. [6] |
|
1303 |
negate |
|
否 |
Negative . . . mouth. [7] |
|
1304 |
cupfuls |
|
杯 |
Tree . . . negative. [8] |
Lesson 33
We turn now to the weapons that remain to be examined. To the saber, the dagger, and the arrow, we add three more primitives to complete the list: the spear, the snare, and the slingshot.
|
1306 |
rectify |
|
矯 |
Dart . . . angel. Compare your stories for correct (frame 405), revise (frame 362), and reformation (frame 567). [17] |
|
1307 |
tribe |
|
族 |
Banner . . . dart. [11] |
|
1308 |
know |
|
知 |
Dart . . . mouth. [8] |
|
1309 |
wisdom |
|
智 |
Know . . . sun. [12] |
|
1310 |
shove |
|
挨 |
Fingers . . . elbow . . . dart. [10] |
|
1311 |
halberd |
|
矛 |
The halberd’s battle-ax head and long shaft are depicted here. Take care with the number and order of the strokes. [5] |
|
皴 皷 皸 皹 皺 |
|
1312 |
tender |
|
柔 |
Halberd . . . tree. [9] |
|
1313 |
task |
|
務 |
Halberd . . . taskmaster . . . muscle. [11] |
|
1314 |
fog |
|
霧 |
Weather/rain . . . task. [19] |
|
1315 |
squad |
|
班 |
Spear between two balls. [10] |
|
1316 |
homecoming |
|
帰 |
Spear . . . broom . . . apron. The character for lady (frame 1234) shares the same right side as this character, which does not bode for a very happy homecoming. [10] |
|
1317 |
bow |
|
弓 |
This character pictures the bent wooden bow. Later we will learn how to make the bowstring that goes with it (frame 1487). If you stretch this character out and see the indentation on the left as its handle, the pictography should be clearer. [3] |
|
纎 纏 纐 |
|
1318 |
pull |
|
引 |
Bow . . . walking stick. [4] |
|
1319 |
condolences |
|
弔 |
A bow . . . wrapped around a walking stick. [4] |
|
1320 |
vast |
|
弘 |
Bow . . . elbow. [5] |
|
1321 |
strong |
|
強 |
Vast . . . insect. Note how the elbow of vast is shrunken and elevated to make room for the insect beneath. [11] |
|
1322 |
more and more |
|
弥 |
Bow . . . reclining . . . little. [8] |
|
1323 |
weak |
|
弱 |
Two bows . . . with ice on them. [10] |
|
1324 |
drowning |
|
溺 |
Water . . . weak. Do not confuse the meaning of this key word with 没 (frame 763), which is closer to “founder.” [13] |
|
* |
dollar sign |
|
弗 |
Composed of two running through a this character is infrequent as a primitive, and yet easy to remember for what it looks like (which is also what the Japanese adopted it to mean in days gone by): the dollar sign, $. When it is written under another element, the first vertical stroke is abbreviated to a short “tail” as the final stroke, and the second vertical stroke is cut off at the top. Examples follow in frames 1327 and 1328. [5] |
|
盆 盈 益 盍 |
|
1325 |
seethe |
|
沸 |
Water . . . dollar sign. [8] |
|
1326 |
expense |
|
費 |
Dollar sign . . . shells/money. [12] |
|
1327 |
No. |
|
第 |
The key word No. is the abbreviation for “number.” Its elements: bamboo . . . dollar sign. [11] |
|
1328 |
younger brother |
|
弟 |
Horns . . . dollar sign. [7] |
|
* |
snare |
|
|
The simple snare composed of a piece of vine and a bent twig is depicted here as a sort of abbreviation of the to which it is related. [2] |
|
盒 盖 |
|
1329 |
adroit |
|
巧 |
Craft . . . snare. [5] |
|
1330 |
nickname |
|
号 |
Mouth . . . snare. [5] |
|
1331 |
decay |
|
朽 |
Tree . . . snare. Do not confuse with rot (frame 1099). [6] |
|
1332 |
boast |
|
誇 |
Words . . . St. Bernard dog . . . ceiling . . . snare. [13] |
|
1333 |
chin |
|
顎 |
Two mouths . . . ceiling . . . snare . . . head. [18] |
|
1334 |
dirty |
|
汚 |
Water . . . two . . . snare. Note that the first stroke for snare doubles up with the first stroke for two. [6] |
|
盗 盛 盜 |
|
* |
slingshot |
|
|
The slingshot differs from the by virtue of the first stroke, which you may take as the strip of rubber you pull back on, to make the slingshot sling. [2] |
|
盒 盞 |
|
1335 |
bestow |
|
与 |
Slingshot . . . one. Later we will meet the character for give (frame 2046), but even so, it is a good idea already at this point to distinguish this key word from impart (frame 795) and grant (frame 1131). [3] |
|
盞 盟 |
|
1336 |
copy |
|
写 |
Crown . . . bestow. [5] |
Lesson 34
Although we still have a number of primitives left relating to human activities, we may at this point pick up what remain of those having to do specifically with people and parts of the human body.
|
1339 |
apologize |
|
謝 |
Words . . . shoot. [17] |
|
1340 |
old man |
|
老 |
First, do not confuse this character with venerable old man (frame 849), which is far more rarely used. The character for an old man begins with an abbreviation of the character for somebody, the nose having been shortened into a simple criss-cross of lines. But there is another, simpler way to remember it all: the soil drawn first indicates that one has come close to the age when “dust to dust” begins to take on a personal meaning; the diagonal walking stick for getting around; and the spoon for being spoon-fed. [6] |
|
盲 直 相 |
|
|
As a primitive, the meaning is the same, but the final two strokes are omitted so that they can be replaced with other elements: . |
|
1341 |
consider |
|
考 |
Old man . . . slingshot. Remember: you already have kanji for discriminating (frame 521), deliberation (frame 692), and think (frame 651). [6] |
|
1342 |
filial piety |
|
孝 |
Old man . . . child. [7] |
|
1343 |
teach |
|
教 |
Filial piety . . . taskmaster. [11] |
|
1344 |
torture |
|
拷 |
Fingers . . . consider. [9] |
|
1346 |
boil |
|
煮 |
Puppet . . . oven fire. [12] |
|
1347 |
renowned |
|
著 |
Flowers . . . puppet. [11] |
|
1348 |
chopsticks |
|
箸 |
Bamboo . . . puppet. [14] |
|
1349 |
signature |
|
署 |
Eye . . . puppet. [13] |
|
1350 |
sultry |
|
暑 |
The key word refers to the heat of summer. Its elements: sun . . . puppet. [12] |
|
1351 |
various |
|
諸 |
Words . . . puppet. Do not confuse with miscellaneous (frame 604). [15] |
|
1352 |
boar |
|
猪 |
Pack of wild dogs . . . puppet. [11] |
|
1353 |
strand |
|
渚 |
The strand referred to here is the stretch of land along a beach or shoreline. Its elements are: water . . . puppet. [11] |
|
1354 |
gamble |
|
賭 |
Shells/money . . . puppet. [15] |
|
* |
scissors |
|
|
This primitive is based on that for . The two extra strokes represent a pair of scissors he is carrying around. [6] |
|
盻 盾 省 眄 |
|
1355 |
gorge |
|
峡 |
Mountain . . . scissors. [9] |
|
1356 |
cramped |
|
狭 |
Pack of wild dogs . . . scissors. [9] |
|
1357 |
sandwiched |
|
挟 |
Fingers . . . scissors. Do not confuse with the kanji for pinch (frame 709). [9] |
|
1358 |
cheek |
|
頬 |
Scissors . . . head. [15] |
|
1359 |
chase |
|
追 |
Maestro . . . road. [9] |
|
1360 |
large hill |
|
阜 |
Maestro . . . needle. [8] |
|
1361 |
expert |
|
師 |
Maestro . . . ceiling . . . towel. [10] |
|
1362 |
commander |
|
帥 |
Maestro . . . towel. [9] |
|
1363 |
bureaucrat |
|
官 |
By replacing the maestro’s baton (the drop) with the roof of a house, we have his equivalent in the institutional world of big government: the bureaucrat. [8] |
|
1364 |
coffin |
|
棺 |
Wood . . . bureaucrat. [12] |
|
1365 |
pipe |
|
管 |
Bamboo . . . bureaucrat. [14] |
|
1367 |
cauldron |
|
釜 |
Father . . . metal. Note the stroke overlap between father and metal. [10] |
|
1368 |
mingle |
|
交 |
Top hat . . . father. [6] |
|
1369 |
merit |
|
効 |
Mingle . . . muscle. Note the distinct connotations that separate merit from achievement (frame 927). [8] |
|
1370 |
contrast |
|
較 |
Cars . . . mingle. [13] |
|
1371 |
exam |
|
校 |
Tree . . . mingle. [10] |
|
1373 |
stimulate |
|
促 |
Person . . . leg. [9] |
|
1374 |
nab |
|
捉 |
Fingers . . . leg. [10] |
|
1375 |
long-distance |
|
距 |
Wooden leg . . . gigantic. [12] |
|
1376 |
path |
|
路 |
Wooden leg . . . each. [13] |
|
1377 |
dew |
|
露 |
Rain . . . path. [21] |
|
1378 |
hop |
|
跳 |
Wooden leg . . . portent. [13] |
|
1379 |
leap |
|
躍 |
Wooden leg . . . feathers . . . turkey. [21] |
|
1380 |
tread |
|
践 |
Wooden leg . . . parade float. [13] |
|
1382 |
trail |
|
踪 |
Wooden leg . . . religion. The key word refers to a trail of footprints or tracks left behind.[13] |
|
1384 |
slippery |
|
滑 |
Water . . . skeleton. [13] |
|
1385 |
marrow |
|
髄 |
Skeleton . . . possess . . . road. [19] |
|
* |
jawbone |
|
咼 |
The meaning of this primitive is taken from the combination of “the joint” above and the in the below. [9] |
|
縅 縉 縊 縋 縒 縛 縞 |
|
1386 |
calamity |
|
禍 |
Altar . . . jawbone. [13] |
|
1387 |
whirlpool |
|
渦 |
Water . . . jawbone. [12] |
|
1388 |
pot |
|
鍋 |
Metal . . . jawbone. [17] |
|
1389 |
overdo |
|
過 |
Jawbone . . . road. [12] |
Lesson 35
The next group of primitives we shall consider has to do with topography and exhausts the list of those remaining in that category.
|
1390 |
Heights |
|
阪 |
This character is used for proper names, much as the English word “Heights” is. Its primitives: pinnacle . . . anti-. [7] |
|
1391 |
Africa |
|
阿 |
This kanji, an abbreviation for Africa, is now used chiefly for its sound, “a,” not unlike the kanji for Italy and the sound “i” that we met earlier (frame 1245). Its composite elements are: pinnacle . . . can. [8] |
|
1392 |
occasion |
|
際 |
Pinnacle . . . ritual. [14] |
|
1393 |
hinder |
|
障 |
Pinnacle . . . badge. [14] |
|
1394 |
chink |
|
P |
Pinnacle . . . little . . . sun . . . little. Note that the form of the first element for little given here is the simpler form that has become standard in general-use characters (see frame 110). For the time being, until typesetting fonts have made the adjustment, the officially approved drawing is this: 隙. [13] |
|
1395 |
follow |
|
随 |
Pinnacle . . . possess . . . road. [12] |
|
1396 |
auxiliary |
|
陪 |
Pinnacle . . . muzzle. [11] |
|
1397 |
sunshine |
|
陽 |
Different from the primitive for sun (which figures in the character) and the kanji for ray (frame 125), the key word sunshine is meant to convey the meaning of the masculine principle in nature, or “Yang.” (The dark is viewed mythically as the feminine principle; see frame 1718.) From there it comes to mean sun also. The elements are: pinnacle . . . piggy bank. [12] |
|
1398 |
line up |
|
陳 |
Pinnacle . . . east. [11] |
|
1399 |
ward off |
|
防 |
Pinnacle . . . compass. [7] |
|
1400 |
affixed |
|
附 |
Pinnacle . . . adhere. [8] |
|
1402 |
camp |
|
陣 |
Pinnacle . . . car. [10] |
|
1403 |
regiment |
|
隊 |
Pinnacle . . . animal horns . . . sow. [12] |
|
1404 |
crash |
|
墜 |
Regiment . . . ground. [15] |
|
1405 |
descend |
|
降 |
Pinnacle . . . walking legs . . . sunglasses with a lens popped out. Distinguish from fall (frame 320) and crash, which we considered in the previous frame. [10] |
|
1406 |
story |
|
階 |
The story of this character refers to floors in a building. The elements: pinnacle . . . all. [12] |
|
1407 |
highness |
|
陛 |
This key word indicates a title of address to royalty. Its elements: pinnacle . . . compare . . . ground. [10] |
|
1408 |
neighboring |
|
隣 |
Pinnacle . . . rice . . . sunglasses. [16] |
|
1409 |
isolate |
|
隔 |
Pinnacle . . . ceiling . . . mouth . . . glass canopy . . . human legs . . . spike. You might want to compare the kanji for dissolve (frame 1123). [13] |
|
1410 |
conceal |
|
隠 |
Pinnacle . . . vulture . . . broom . . . heart. Compare the elements at the right to the kanji for calm (frame 1230). [14] |
|
1411 |
degenerate |
|
堕 |
Pinnacle . . . possess . . . ground. [12] |
|
1412 |
collapse |
|
陥 |
Pinnacle . . . bound up . . . olden times. [10] |
|
1413 |
hole |
|
穴 |
House . . . eight. [5] |
|
As a primitive, this kanji uses an alternate form: the primitive for is replaced with that for . |
|
1414 |
empty |
|
空 |
Hole . . . craft. [8] |
|
1415 |
withdraw |
|
控 |
Fingers . . . empty. [11] |
|
1416 |
stab |
|
突 |
Hole . . . St. Bernard dog. [8] |
|
1417 |
research |
|
究 |
Hole . . . baseball. [7] |
|
1418 |
plug up |
|
窒 |
Hole . . . climax. [11] |
|
1419 |
stealth |
|
窃 |
Hole . . . cut. [9] |
|
1420 |
cavern |
|
窟 |
Hole . . . yield. [13] |
|
1421 |
depression |
|
窪 |
Hole . . . water . . . ivy. The depression referred to here is a sunken place in the ground, rather than in one’s spirits. [14] |
|
1422 |
squeeze |
|
搾 |
Fingers . . . hole . . . saw. [13] |
|
1423 |
kiln |
|
窯 |
Hole . . . sheep . . . oven fire. [15] |
|
1424 |
hard up |
|
窮 |
Hole . . . somebody . . . bow. [15] |
|
* |
paper punch |
|
|
This primitive simply discards the first stroke of that for to become a paper punch. When found at the top of its relative primitive, it undergoes the same change, the becoming (see frame 1413). [4] |
|
1425 |
grope |
|
探 |
Fingers . . . paper punch . . . tree. [11] |
|
1426 |
deep |
|
深 |
Water . . . paper punch . . . tree. [11] |
|
1428 |
Point |
|
岳 |
Think of the key word as referring to proper names of mountains, but do not confuse with mountain pass (frame 835). The elements are: hill . . . mountain. [8] |
|
1429 |
soldier |
|
兵 |
Hill . . . animal legs. [7] |
|
1430 |
seacoast |
|
浜 |
Water . . . soldier. [10] |
Lesson 36
The primitive for thread is one of the most common in all the kanji. This means that you are likely to be putting it where it doesn’t belong and forgetting to include it where it does—all the more reason to give it a vivid image each time. Fortunately, nearly all the thread-related kanji to be covered in this book will appear in this lesson, so you can learn them all at once.
|
1432 |
weave |
|
織 |
Thread . . . kazoo. [18] |
|
1433 |
darning |
|
繕 |
Thread . . . virtuous. [18] |
|
1434 |
shrink |
|
縮 |
Thread . . . inn. [17] |
|
1435 |
luxuriant |
|
繁 |
Cleverness . . . thread. [16] |
|
1436 |
vertical |
|
縦 |
Thread . . . accompany. [16] |
|
1437 |
fine |
|
緻 |
The key word should be taken to mean minute, detailed, or nuanced. Its primitive elements are: thread . . . doth. [16] |
|
1438 |
line |
|
線 |
Thread . . . spring. [15] |
|
1439 |
come apart at the seams |
|
綻 |
Thread . . . determine. [14] |
|
1440 |
tighten |
|
締 |
Thread . . . sovereign. [15] |
|
1441 |
fiber |
|
維 |
Thread . . . turkey. [14] |
|
1442 |
gauze |
|
羅 |
Eye . . . fiber. [19] |
|
1443 |
practice |
|
練 |
Thread . . . east. [14] |
|
1444 |
thong |
|
緒 |
Thread . . . puppet. Although we usually think of a thong as coming at the end of a piece of string, this character’s meaning allows for it to come at the beginning as well. [14] |
|
1445 |
continue |
|
続 |
Thread . . . sell. [13] |
|
1446 |
picture |
|
絵 |
Thread . . . meeting (full kanji). [12] |
|
1447 |
overall |
|
統 |
Thread . . . allot. [12] |
|
1448 |
strangle |
|
絞 |
Thread . . . mingle. [12] |
|
1449 |
salary |
|
給 |
Thread . . . fit. [12] |
|
1450 |
entwine |
|
絡 |
Thread . . . each. [12] |
|
1451 |
tie |
|
結 |
Thread . . . aerosol can. [12] |
|
1452 |
end |
|
終 |
Thread . . . winter. [11] |
|
1453 |
class |
|
級 |
Threads . . . outstretched hands. [9] |
|
1454 |
chronicle |
|
紀 |
Thread . . . snake. [9] |
|
1455 |
crimson |
|
紅 |
Thread . . . craft. [9] |
|
1456 |
crimson |
|
納 |
Thread . . . inside. [10] |
|
1457 |
spinning |
|
紡 |
For the kanji that means the spinning of thread and other fibers we have the elements: thread . . . compass. [10] |
|
1458 |
distract |
|
紛 |
Thread . . . part. [10] |
|
1459 |
introduce |
|
紹 |
Thread . . . seduce. [11] |
|
1460 |
sūtra |
|
経 |
Thread . . . spool. [11] |
|
1461 |
sire |
|
紳 |
Thread . . . monkey. [11] |
|
1463 |
dainty |
|
細 |
Thread . . . brains. [11] |
|
1464 |
accumulate |
|
累 |
Rice field . . . threads. Make use of the position of the elements to distinguish this kanji from that of the previous frame. [11] |
|
1465 |
cord |
|
索 |
Chapel (see frame 930) . . . thread. [10] |
|
1466 |
general |
|
総 |
This kanji, meaning universal or widespread, is composed of three elements: thread . . . public . . . heart. [14] |
|
1467 |
cotton |
|
綿 |
Thread . . . white . . . towels. [14] |
|
1468 |
silk |
|
絹 |
Thread . . . mouth . . . flesh. [13] |
|
1469 |
winding |
|
繰 |
Thread . . . goods . . . tree. [19] |
|
1470 |
inherit |
|
継 |
Thread . . . rice . . . hook. Compare frame 1218. [13] |
|
1471 |
green |
|
緑 |
Thread . . . broom . . . grains of rice. [14] |
|
1472 |
affinity |
|
縁 |
Thread . . . broom . . . sow. [15] |
|
1473 |
netting |
|
網 |
Thread . . . glass canopy . . . animal horns . . . perish. [14] |
|
1474 |
tense |
|
緊 |
Slave . . . crotch . . . thread. [15] |
|
1475 |
purple |
|
紫 |
Footprint . . . spoon . . . thread. [12] |
|
1476 |
truss |
|
縛 |
Threads . . . acupuncturist. [16] |
|
1477 |
straw rope |
|
縄 |
Thread . . . eels. [15] |
|
1478 |
infancy |
|
幼 |
Cocoon . . . muscle. [5] |
|
1479 |
behind |
|
後 |
Line . . . cocoon . . . walking legs. [9] |
|
1480 |
faint |
|
幽 |
Mountain . . . two cocoons. Observe how the two vertical strokes of the mountain are extended upwards to serve as a kind of enclosure. [9] |
|
縣 縦 縫 縮 縱 |
|
1481 |
how many |
|
幾 |
Two cocoons . . . person . . . fiesta. [12] |
|
睦 睨 睫 睹 |
|
|
As a primitive, this kanji will mean an , the bead-instrument used in the Orient to calculate . |
|
1482 |
mechanism |
|
機 |
Tree . . . abacus. [16] |
|
1483 |
capital suburbs |
|
畿 |
Two cocoons . . . rice field . . . fiesta. [15] |
|
1484 |
mysterious |
|
玄 |
Top hat . . . cocoon. [5] |
|
1485 |
livestock |
|
畜 |
Mysterious . . . rice field. [10] |
|
1486 |
amass |
|
蓄 |
Flowers . . . livestock. [13] |
|
1487 |
bowstring |
|
弦 |
Bow . . . mysterious. [8] |
|
1490 |
mercy |
|
慈 |
Double-mysterious . . . heart. [13] |
|
1491 |
magnet |
|
磁 |
Stone . . . double-mysterious. [14] |
|
1493 |
person in charge |
|
係 |
Person . . . yarn. [9] |
|
1494 |
grandchild |
|
孫 |
Child . . . yarn. [10] |
|
1495 |
suspend |
|
懸 |
Prefecture . . . yarn . . . heart. [20] |
|
1496 |
modest |
|
遜 |
Grandchild . . . road. [13] |
Lesson 37
Earlier we created an image for seal (frame 168). Here we come to a set of primitives based on the shape of a seal and deriving their meanings from the notion of stamping or sealing.
|
* |
stamp |
|
卩 |
This character is a kind of pictograph of a stamp that may best be imagined as a postage stamp to distinguish it from other stamp-like things to come up later. [2] |
|
睾 睿 |
|
1497 |
instead |
|
却 |
Gone . . . stamp. [7] |
|
1498 |
shins |
|
脚 |
Part of the body . . . instead. This character has more or less the same meaning as that for leg learned back in frame 1372. It can also indicate the part of the legs from the shins down, which explains the choice of the key word. [11] |
|
1499 |
wholesale |
|
卸 |
The left primitive is a union of a horse and footprint. To the right, the stamp. [9] |
|
縲 縵 縶 縷 縹 |
|
1500 |
honorable |
|
御 |
Line . . . wholesale. [12] |
|
1501 |
clothing |
|
服 |
Flesh . . . stamp . . . crotch. Note how the stamp is stretched out here. [8] |
|
1503 |
orders |
|
令 |
Meeting . . . chop-seal. [5] |
|
1504 |
zero |
|
零 |
Rain . . . orders. [13] |
|
1505 |
age |
|
齢 |
This character is used to express the years of one’s age. Its elements: teeth . . . orders. [17] |
|
1506 |
cool |
|
冷 |
Ice . . . orders. [7] |
|
1507 |
jurisdiction |
|
領 |
Orders . . . head. [14] |
|
1508 |
small bell |
|
鈴 |
Gold . . . orders. [13] |
|
1509 |
courage |
|
勇 |
Chop-seal . . . man. [9] |
|
1510 |
bubble up |
|
湧 |
Water . . . courage. [12] |
|
1512 |
jump |
|
踊 |
Wooden leg . . . chop-seal . . . screwdriver. [14] |
|
1513 |
doubt |
|
疑 |
Spoon . . . dart . . . chop-seal . . . zoo. [14] |
|
1514 |
mimic |
|
擬 |
Fingers . . . doubt. [17] |
|
1515 |
congeal |
|
凝 |
Ice . . . doubt. [16] |
|
* |
fingerprint |
|
|
The primitive for fingerprint is like that for except that the second stroke bends back towards the right, like an arm. [2] |
|
瞑 瞞 |
|
1516 |
pattern |
|
範 |
Bamboo . . . car . . . fingerprint. [15] |
|
1517 |
crime |
|
犯 |
Wild dogs . . . fingerprint. [5] |
|
1518 |
widespread |
|
氾 |
Water . . . fingerprint. [5] |
|
1519 |
unlucky |
|
厄 |
Cliff . . . fingerprint. [4] |
|
1520 |
dangerous |
|
危 |
Bound up . . . unlucky. [6] |
|
* |
mailbox |
|
|
. [5] |
|
1521 |
address |
|
宛 |
House . . . mailbox. [8] |
|
1522 |
arm |
|
五 |
Part of the body . . . address. [12] |
|
1523 |
garden |
|
苑 |
Flowers . . . mailbox. [8] |
|
1524 |
grudge |
|
怨 |
Mailbox . . . heart. [9] |
|
1525 |
willow |
|
柳 |
Tree . . . receipt . . . stamp. [9] |
|
1527 |
detain |
|
留 |
Receipt . . . dagger . . . rice field. [10] |
|
1528 |
marine blue |
|
瑠 |
Ball . . . detain. [14] |
|
1529 |
trade |
|
貿 |
Receipt . . . dagger . . . shells. Do not confuse with make a deal (frame 471) or wholesale (frame 1499). [12] |
|
* |
staples |
|
|
This primitive represents a number of small staples, like the kind commonly used in an office and at school. [4] |
|
瞭 瞰 瞳 瞶 |
|
1530 |
stamp |
|
印 |
At last we come to the general character meaning stamp. Its elements: staples . . . stamp. [6] |
|
1531 |
mortar |
|
臼 |
The image here is of back-to-back staples. The mortar referred to in this key word is a stone or wooden basin used for grinding with a pestle. [6] |
|
1532 |
break |
|
毀 |
Mortar . . . soil . . . missile. [13] |
|
1533 |
entertain |
|
興 |
Mortar . . . same . . . tool. Note how the mortar is split in two to make room for the element same. [16] |
|
|
Lesson 38
The next cluster of kanji has to do with primitives related to the activities of eating and drinking.
|
1535 |
saké |
|
酒 |
Water . . . whiskey bottle. [10] |
|
1536 |
bartending |
|
酌 |
Whiskey bottle . . . ladle. [10] |
|
1537 |
hooch |
|
酎 |
This kanji is used for thick, low-grade saké made from various kinds of grains. Its primitives are: whiskey bottle . . . glue. [10] |
|
1538 |
fermentation |
|
酵 |
Whiskey bottle . . . filial piety. [14] |
|
1539 |
cruel |
|
酷 |
Whiskey bottle . . . revelation. [14] |
|
1540 |
repay |
|
酬 |
Whiskey bottle . . . state. [13] |
|
1541 |
dairy products |
|
酪 |
Whiskey bottle . . . each. [13] |
|
1542 |
vinegar |
|
酢 |
Whiskey bottle . . . saw. [12] |
|
1543 |
drunk |
|
酔 |
Whiskey bottle . . . game of cricket. [11] |
|
1544 |
distribute |
|
配 |
Whiskey bottle . . . snake. [10] |
|
1545 |
acid |
|
酸 |
Whiskey bottle . . . license . . . walking legs. [14] |
|
1546 |
waver |
|
猶 |
Wild dogs . . . animal horns . . . whiskey bottle. [12] |
|
1547 |
revered |
|
尊 |
Animal horns . . . whiskey bottle . . . glue. [12] |
|
1548 |
beans |
|
豆 |
This kanji depicts a pot of beans, although it looks more like a table on which the pot is resting. [7] |
|
矗 矚 矛 矜 |
|
|
As a primitive, this kanji will also mean |
|
1549 |
head |
|
頭 |
Here we meet at last the full kanji on which the primitive for head is based. The elements: table . . . head. [16] |
|
1550 |
short |
|
短 |
Dart . . . table. [12] |
|
1551 |
bountiful |
|
豊 |
Bend . . . table. Think of a bountiful harvest, and you will not be far from the meaning of this character. [13] |
|
* |
drum |
|
|
The element for drum shows a over a . The top stroke of the appears to be missing, but actually it has doubled up with the final stroke of the element for . [9] |
|
1552 |
drum |
|
鼓 |
The full kanji for the drum adds a branch, apparently to serve as a drumstick, to the primitive for drum. [13] |
|
1553 |
rejoice |
|
喜 |
Drum . . . mouth. [12] |
|
1554 |
timber-trees |
|
樹 |
Trees . . . drum . . . glue. [16] |
|
1555 |
dish |
|
皿 |
The kanji for a dish is, clearly, the pictograph of a painted or carved bowl, seen from the side. [5] |
|
矢 矣 知 矧 矩 |
|
1556 |
blood |
|
血 |
The drop in the dish is blood. It is similar to the drop we saw earlier on the dagger in the character for blade (frame 88). [6] |
|
1557 |
basin |
|
盆 |
Part . . . dish. [9] |
|
1558 |
alliance |
|
盟 |
Bright . . . dish. [13] |
|
1559 |
steal |
|
盗 |
Next . . . dish. [11] |
|
1560 |
warm |
|
温 |
Water . . . sun . . . dish. [12] |
|
1561 |
lid |
|
蓋 |
Flowers . . . gone . . . dish. [13] |
|
1562 |
oversee |
|
監 |
Slaves . . . reclining . . . floor/one . . . dish. [15] |
|
1563 |
overflow |
|
濫 |
Water . . . oversee. [18] |
|
1564 |
specimen |
|
鑑 |
Metal . . . oversee. [23] |
|
1565 |
indigo |
|
藍 |
Flowers . . . oversee. [18] |
|
1566 |
fierce |
|
猛 |
Wild dogs . . . child . . . dish. [11] |
|
1567 |
boom |
|
盛 |
Here boom refers to something that is popular and prospering. Its elements: turn into . . . dish. [11] |
|
1568 |
salt |
|
塩 |
Ground . . . reclining . . . mouth . . . dish. [13] |
|
1569 |
silver |
|
銀 |
Metal . . . silver. [14] |
|
砌 砒 |
|
1570 |
resentment |
|
恨 |
State of mind . . . silver. [9] |
|
1571 |
root |
|
根 |
Tree . . . silver. [10] |
|
1572 |
instant |
|
即 |
Silver . . . stamp. [7] |
|
1573 |
baron |
|
爵 |
Vulture . . . eye . . . silver . . . glue. [17] |
|
1574 |
node |
|
節 |
Bamboo . . . instant. [13] |
|
1575 |
retreat |
|
退 |
Road . . . silver. [9] |
|
1576 |
limit |
|
限 |
Pinnacle . . . silver. [9] |
|
1577 |
eyeball |
|
眼 |
Eye . . . silver. [11] |
|
1578 |
good |
|
良 |
Drop of . . . silver. [7] |
|
As a primitive, use the image of a saint’s . As with , when this element is drawn on the left, the penultimate stroke is omitted, giving us . |
|
1579 |
melodious |
|
朗 |
Halo . . . moon. [10] |
|
1580 |
wandering |
|
浪 |
Water . . . halo. [10] |
|
1581 |
daughter |
|
娘 |
Woman . . . halo. [10] |
|
1583 |
meal |
|
飯 |
Food . . . anti-. [12] |
|
1584 |
drink |
|
飲 |
Food . . . yawn. [12] |
|
1585 |
hungry |
|
飢 |
Food . . . wind. [10] |
|
1586 |
starve |
|
餓 |
Food . . . ego. [15] |
|
1587 |
decorate |
|
飾 |
Food . . . reclining . . . towel. [13] |
|
1588 |
feed |
|
餌 |
Food . . . ear. The sense of the key word here is that of bait or feed for animals.[14] |
|
1589 |
Bldg. |
|
館 |
The abbreviation of Building suggests that this kanji is used in proper names, as indeed it often is. Keep your connotation distinct from Inst. (frame 1401) when working with the elements: food . . . bureaucrat. [16] |
|
1590 |
mochi |
|
餅 |
Mochi is the glutinous rice the Japanese pound into cakes. Its primitives are: food . . . puzzle. [14] |
|
1591 |
foster |
|
養 |
Sheep . . . food. The key word has the sense of promoting the development of something, especially in a psychological or spiritual sense. [13] |
|
1592 |
sated |
|
飽 |
Eat . . . wrap. [13] |
|
* |
waitress |
|
|
If you draw this character once, you will see that its first three strokes resemble the form for (except that the third stroke ends more parallel to the first), with its last stroke stretched to form the first of the two . From this we give it its meaning of a waitress (who should not be confused with the back in frame 1050). [5] |
|
研 ! 砕 砠 砡 |
|
1593 |
previously |
|
既 |
Silver . . . waitress. Do not confuse this kanji’s key word with before (frame 263). [10] |
|
1595 |
rue |
|
慨 |
Resentment . . . waitress. [13] |
Lesson 39
A number of primitives relating to plant life remain to be considered, and we shall devote the next two pages to doing so. In the following pages, as indeed in the rest of the book, we shall meet several elements whose use is quite limited. Nevertheless, it is better to learn them as primitives both in order to acquaint yourself better with the way the Japanese writing system repeats certain combinations of elements, and in order later to facilitate the learning of characters outside the compass of these pages.
|
1597 |
call |
|
呼 |
Mouth . . . water lily. Note: this is the one time that the “stem” has a barb at the end. Work this fact into your story. [8] |
|
1599 |
evaluate |
|
評 |
Words . . . water lily. [12] |
|
* |
sheaf |
|
|
These two strokes are a crude drawing of a bundle of stalks bound together into a sheaf. [2] |
|
砺 砿 |
|
1600 |
reap |
|
刈 |
Sheaf . . . saber. [4] |
|
1601 |
moment |
|
刹 |
The key word here is the noun meaning “a brief moment.” Its elements: sheaf . . . tree . . . saber. [8] |
|
1602 |
hope |
|
希 |
Sheaf . . . linen. [7] |
|
1603 |
villain |
|
凶 |
Sheaf . . . shovel. [4] |
|
硅 硎 |
|
1604 |
bosom |
|
胸 |
Part of the body . . . bound up . . . villain. [10] |
|
1606 |
crystal |
|
璃 |
This kanji refers to one of the seven classical stones of China. Its elements: ball . . . top hat . . . villain . . . belt . . . elbow. [14] |
|
1607 |
kill |
|
殺 |
Sheaf . . . tree . . . missile. [10] |
|
1608 |
bracing |
|
爽 |
The sense of the key word is of something refreshing and invigorating. It is made up of the St. Bernard and a pair of sheaves on each side.[11] |
|
* |
earthworm |
|
屯 |
. [4] |
|
硝 硤 硫 硬 |
|
1609 |
genuine |
|
純 |
Thread . . . earthworm. [10] |
|
1610 |
immediate |
|
頓 |
Earthworm . . . head. [13] |
|
1611 |
dull |
|
鈍 |
Metal . . . earthworm. [12] |
|
1613 |
resign |
|
辞 |
Tongue . . . spicy. [13] |
|
1614 |
catalpa |
|
梓 |
Tree . . . spicy. [11] |
|
1615 |
superintend |
|
宰 |
House . . . spicy. [10] |
|
1616 |
wall |
|
壁 |
Ketchup . . . ground. [16] |
|
1618 |
evade |
|
避 |
Ketchup . . . road. [16] |
|
1619 |
new |
|
新 |
Red pepper . . . ax. [13] |
|
1620 |
firewood |
|
薪 |
Flowers . . . new. [16] |
|
1621 |
parent |
|
親 |
Red pepper . . . see. [16] |
|
1622 |
happiness |
|
幸 |
Simply by turning the dot at the top of the primitive for spicy into a cross shape, we move from things bitter and spicy to things happy. [8] |
|
1623 |
tenacious |
|
執 |
Happiness . . . fat man. [11] |
|
1624 |
clasp |
|
摯 |
Of the many and widely different meanings of this kanji, we select the verbal meaning of clasp, which fits in well with its primitive elements: tenacious . . . hand. [15] |
|
1625 |
report |
|
報 |
Happiness . . . stamp . . . crotch. Compare frame 1501. [12] |
|
1626 |
shout |
|
叫 |
Mouth . . . cornucopia. [5] |
|
1627 |
twist |
|
糾 |
Thread . . . cornucopia. [8] |
|
1628 |
income |
|
収 |
Cornucopia . . . crotch. Keep distinct from both fare (frame 1079) and salary (frame 1449). [4] |
|
1629 |
income |
|
卑 |
A drop of . . . brains . . . cornucopia. [8] |
|
1630 |
tombstone |
|
碑 |
Rock . . . lowly. [13] |
|
* |
rice seedling |
|
|
As we mentioned back in frame 249, rice seedlings get an element all their own: and becomes an ideograph of the spikelets of rice bunched together for implanting in the muddy soil of the paddy. [5] |
|
1631 |
land |
|
陸 |
The sense of land carried by this kanji is distinct from soil (frame 161) and ground (frame 554) in that it is meant to represent land seen from a distance, that is, land as opposed to “water.” Its elements: pinnacle . . . rice seedlings . . . ground. [11] |
|
1632 |
intimate |
|
睦 |
Eye . . . rice seedlings . . . ground. [13] |
|
1633 |
forces |
|
勢 |
Rice seedlings . . ground . . . fat man . . . muscle. [13] |
|
1634 |
heat |
|
熱 |
Rice seedlings . . . ground . . . fat man . . . oven fire. [15] |
|
1635 |
diamond |
|
菱 |
Named after a diamond-shaped flower (the water caltrop), this key word refers to things shaped like a diamond. Its elements: flower . . . rice seedlings . . . walking legs. [11] |
|
1636 |
mausoleum |
|
陵 |
Pinnacle . . . rice seedlings . . . walking legs. [11] |
|
1638 |
nucleus |
|
核 |
Tree . . . acorn. [10] |
|
1639 |
engrave |
|
刻 |
Acorn . . . saber. [8] |
|
1640 |
above-stated |
|
該 |
Words . . . acorn. [13] |
|
1641 |
remains |
|
骸 |
Skeleton . . . acorn. [16] |
|
1642 |
censure |
|
劾 |
Acorn . . . muscle. [8] |
|
1643 |
mention |
|
述 |
Resin . . . road. [8] |
|
1644 |
art |
|
術 |
Boulevard . . . resin. [11] |
|
* |
celery |
|
|
This primitive looks very close to that for , except that an extra horizontal line has been included, reminiscent I should think of the long celery sticks in your . [5] |
|
罨 罩 罪 罫 |
|
1645 |
cold |
|
寒 |
House . . . celery . . . animal legs . . . ice. [12] |
|
1646 |
block up |
|
塞 |
House . . . celery . . . animal legs . . . soil. [13] |
|
* |
grass skirt |
|
|
This unusual looking grass skirt is composed of a and , and sticks. [13] |
|
置 罰 署 罵 |
|
1647 |
brew |
|
醸 |
Whiskey bottle . . . grass skirt. [20] |
|
1648 |
defer |
|
譲 |
Words . . . grass skirt. [20] |
|
1649 |
lot |
|
壌 |
Ground . . . grass skirt. The lot of this key word refers to a portion of land. [16] |
|
1650 |
lass |
|
嬢 |
Woman . . . grass skirt. [16] |
Lesson 40
The remainder of plant-related primitives are built up from combinations of vertical and horizontal lines, representing respectively plants and the earth from which they spring. Accordingly it would be a good idea to study the remaining elements of this section at a single sitting, or at least so to review them before passing on to the next grouping.
|
1651 |
poison |
|
毒 |
Grow up . . . breasts. [8] |
|
1652 |
elementary |
|
素 |
Grow up . . . thread. [10] |
|
1653 |
barley |
|
麦 |
Grow up . . . walking legs. [7] |
|
1654 |
blue |
|
青 |
Grow up . . . moon. [8] |
|
1655 |
refined |
|
精 |
Rice . . . blue. [14] |
|
1656 |
solicit |
|
請 |
Words . . . blue. [15] |
|
1657 |
feelings |
|
情 |
State of mind . . . blue. Do not confuse with emotion (frame 662). [11] |
|
1658 |
clear up |
|
晴 |
Take the key word in its associations with the weather (unless that tempts you to include the primitive for weather, which doesn’t belong here). Its elements: sun . . . blue. [12] |
|
1659 |
pure |
|
清 |
Water . . . blue. [11] |
|
1660 |
quiet |
|
静 |
Blue . . . contend. Do not confuse with calm (frame 1230). [14] |
|
1661 |
blame |
|
責 |
Grow up . . . oyster. [11] |
|
1662 |
exploits |
|
績 |
Thread . . . blame. [17] |
|
1663 |
volume |
|
積 |
Wheat . . . blame. This key word has to do with measurement, and should be kept distinct from the kanji for quantity (frame 189)—even though the meanings are similar. [16] |
|
1664 |
bond |
|
債 |
Person . . . blame. The key word refers to financial bonds. [13] |
|
1665 |
pickling |
|
漬 |
Water . . . blame. [14] |
|
1666 |
surface |
|
表 |
Grow up . . . scarf. This character represents the “outside” of a garment, just as the kanji for back (frame 426) depicted the “inside” or lining. [8] |
|
1667 |
bag |
|
俵 |
Keep this kanji distinct from that for sack (frame 1081). Its elements are: person . . . surface. [10] |
|
1668 |
undefiled |
|
潔 |
Water . . . grow up . . . dagger . . . thread. Do not confuse with upright (frame 58). [15] |
|
1669 |
pledge |
|
契 |
Grow up . . . dagger . . . St. Bernard dog. The connotation of this character should be kept distinct from that for vow (frame 1214) and promise (frame 1462). [9] |
|
1670 |
consume |
|
喫 |
Mouth . . . pledge. [12] |
|
1671 |
harm |
|
害 |
House . . . grow up . . . mouth. [10] |
|
1672 |
control |
|
轄 |
Car . . . harm. Hint: the image of an auto going “out of control” may help keep this key word distinct from others like it, such as manipulate (frame 864). [17] |
|
1673 |
proportion |
|
割 |
Harm . . . saber. [12] |
|
1674 |
constitution |
|
憲 |
The key word refers to the fundamental guiding principles of a government or other organization. Its elements: House . . . grow up . . . eyes . . . heart. [16] |
|
1675 |
life |
|
生 |
A single drop added to the element for grow up gives us the character for life. [5] |
|
As a primitive, we may think of a microscopic , that miraculous unit that to become a living being. |
|
1676 |
star |
|
星 |
Sun . . . cell. [9] |
|
1677 |
awakening |
|
醒 |
Whiskey bottle . . . star. [16] |
|
1678 |
surname |
|
姓 |
Woman . . . cell. [8] |
|
1679 |
sex |
|
性 |
State of mind . . . cell. [8] |
|
1680 |
animal sacrifice |
|
牲 |
Cow . . . cell. [9] |
|
1681 |
products |
|
産 |
Vase . . . cliff . . . cell. [11] |
|
* |
bushes |
|
丰 |
Whatever image you contrived for the character meaning (frame 165), choose something different and clearly distinguishable for this primitive for bushes. The element itself differs from that for only in the extension of the single vertical stroke beneath the final horizontal stroke and in the order of writing. Though we shall meet only one instance of it in this chapter and one more later on, it is worth noting that when this element appears on the side, the final stroke is sloped somewhat to the left: . [4] |
|
績 繁 |
|
1683 |
summit |
|
峰 |
Mountain . . . walking legs . . . bushes. [10] |
|
1684 |
bee |
|
蜂 |
Insect . . . walking legs . . . bushes. [13] |
|
1685 |
sew |
|
縫 |
Thread . . . walking legs . . . bushes . . . road. [16] |
|
1686 |
worship |
|
拝 |
Fingers . . . bush . . . suspended from the ceiling. [8] |
|
1687 |
longevity |
|
寿 |
Bushes . . . glue. [7] |
|
1688 |
casting |
|
鋳 |
Metal . . . longevity. As you probably guessed from the elements, the key word refers to the casting of metals. [15] |
|
* |
Christmas tree |
|
耒 |
The addition of the final two strokes to the element for gives the sense of a that is also a . Hence, the Christmas tree. [6] |
|
碚 碣 |
|
1689 |
enroll |
|
籍 |
Bamboo . . . Christmas tree . . . once upon a time. [20] |
|
1690 |
springtime |
|
春 |
Bonsai . . . sun. [9] |
|
1691 |
camellia |
|
椿 |
Tree . . . springtime. [13] |
|
1692 |
peaceful |
|
泰 |
Bonsai . . . grains of rice. [10] |
|
1693 |
play music |
|
奏 |
Bonsai . . . heavens. [9] |
|
1694 |
reality |
|
実 |
House . . . bonsai. [8] |
|
1695 |
dedicate |
|
奉 |
Bonsai . . . cornstalk. Use a ritualistic, religious meaning. [8] |
|
1696 |
stipend |
|
俸 |
Person . . . dedicate. [10] |
|
1697 |
rod |
|
棒 |
Tree . . . dedicate. [12] |
|
* |
cabbage |
|
|
The , the , and the element for combine here to create the primitive for cabbage. [10] |
|
碧 碨 碪 碫 碬 碮 |
|
1698 |
discreet |
|
謹 |
Words . . . cabbage. [17] |
|
1699 |
trifle |
|
僅 |
Person . . . cabbage. [12] |
|
1700 |
diligence |
|
勤 |
Cabbage . . . muscle. [12] |
|
* |
scarecrow |
|
|
By twisting the final two strokes of our into a pair of legs, we get a scarecrow with a for a head. [10] |
|
碯 碱 碲 碳 碴 確 |
|
1701 |
Sino- |
|
漢 |
Water . . . scarecrow. The key word has come to refer to things Chinese in general, including the kanji themselves (for which this character is used). [13] |
|
1702 |
sigh |
|
嘆 |
Mouth . . . scarecrow. [13] |
|
1703 |
difficult |
|
難 |
Scarecrow . . . turkey. [18] |
|
1704 |
splendor |
|
華 |
Flower . . . silage . . . needle. [10] |
|
1705 |
droop |
|
垂 |
A drop of . . . silage . . . walking stick . . . floor. The character is written in the order of its elements. [8] |
|
1706 |
saliva |
|
唾 |
Mouth . . . droop. [11] |
|
1707 |
drowsy |
|
睡 |
Eyes . . . droop. [13] |
|
1708 |
spindle |
|
錘 |
Metal . . . droop. [16] |
|
1709 |
ride |
|
乗 |
The simplest way to remember this character is to find the sprig of wheat in it, hidden because it doubles up with one stroke of silage. [9] |
|
1710 |
surplus |
|
剰 |
Ride . . . saber. [11] |
Lesson 41
Only a few of the primitives relating to time and direction remain. It is to these that we turn our attention in this lesson.
|
1712 |
include |
|
含 |
Clock . . . mouth. [7] |
|
1713 |
covet |
|
貪 |
Clock . . . shellfish. [11] |
|
1714 |
versify |
|
吟 |
As we have already learned characters for poem (frame 370), chant (frame 21), and song (frame 508), it is important to protect this key word with an image all its own. Its elements are the same as those above; only the position has changed: mouth . . . clock. [7] |
|
1715 |
wish |
|
念 |
Clock . . . heart. [8] |
|
1716 |
wrench |
|
捻 |
This kanji does not refer to the tool but to the act of twisting. Its elements: fingers . . . wish. [11] |
|
1717 |
harp |
|
琴 |
A pair of balls . . . clock. [12] |
|
1718 |
shade |
|
陰 |
Just as the sunshine (frame 1397) represents the masculine principle in nature (Yang), the shade stands for the feminine principle (Yin). Its elements are: pinnacle . . . clock . . . rising cloud. [11] |
|
1719 |
beforehand |
|
予 |
Think of this character as identical to the halberd (frame 1311) except that the final stroke has been omitted. Return to that character and devise some image to take this difference into account. [4] |
|
1720 |
preface |
|
序 |
Cave . . . beforehand. [7] |
|
1721 |
deposit |
|
預 |
Beforehand . . . head. [13] |
|
1722 |
plains |
|
野 |
This character refers to rustic life and rustic fields primarily, and from there gets derived meanings. Its elements: computer . . . beforehand. [11] |
|
1724 |
dislike |
|
嫌 |
Woman . . . concurrently. [13] |
|
1725 |
sickle |
|
鎌 |
Metal . . . concurrently. [18] |
|
1726 |
self-effacing |
|
謙 |
Words . . . concurrently. [17] |
|
1727 |
bargain |
|
廉 |
Cave . . . concurrently. [13] |
|
1729 |
value |
|
価 |
Person . . . Old West. [8] |
|
1730 |
need |
|
要 |
Old West . . . woman. [9] |
|
1731 |
loins |
|
腰 |
Part of the body . . . need. [13] |
|
1732 |
ballot |
|
票 |
Old West . . . altar. [11] |
|
1733 |
drift |
|
漂 |
Water . . . ballot. [14] |
|
1734 |
signpost |
|
標 |
Tree . . . ballot. [15] |
|
1735 |
chestnut |
|
栗 |
Old West . . . tree. [10] |
|
1736 |
shudder |
|
慄 |
State of mind . . . chestnut.. [13] |
|
1737 |
transition |
|
遷 |
West . . . St. Bernard dog . . . snake . . . road. [15] |
|
1738 |
capsize |
|
覆 |
West . . . restore. [18] |
|
1739 |
smoke |
|
煙 |
Hearth . . . Old West . . . ground. [13] |
|
1740 |
south |
|
南 |
Belt . . . happiness. Note how the belt runs through the middle of happiness. [9] |
|
礑 礒 礙 |
|
1741 |
camphor tree |
|
楠 |
Tree . . . south. [13] |
|
1742 |
offering |
|
献 |
South . . . chihuahua. [13] |
Lesson 42
This next collection of characters is based on the primitive for gates. From there we shall go on to consider other elements related to entrances and barriers in general.
|
1744 |
question |
|
問 |
Gates . . . mouth. [11] |
|
1745 |
review |
|
閲 |
Gates . . . devil. Keep the connotation of this key word distinct from those of inspection (frame 1174), revise (frame 362), and perusal (frame 919). [15] |
|
1746 |
clique |
|
閥 |
Gates . . . fell. [14] |
|
1747 |
interval |
|
間 |
Gates . . . sun/day. This interval applies to time and space alike, but the latter is better for creating an image. [12] |
|
1748 |
pitch dark |
|
闇 |
Gates . . . sound. [17] |
|
1749 |
simplicity |
|
簡 |
Bamboo . . . interval. [18] |
|
1750 |
open |
|
開 |
Gates . . . two hands. [12] |
|
1751 |
closed |
|
閉 |
Gates . . . genie. [11] |
|
1752 |
tower |
|
閣 |
Gates . . . each. [14] |
|
1753 |
leisure |
|
閑 |
Gates . . . tree. [12] |
|
1754 |
hear |
|
聞 |
Gates . . . ear. Compare the story you invented for the kanji meaning listen (frame 890). [14] |
|
1755 |
wet |
|
潤 |
Water . . . gates . . . king. [15] |
|
1756 |
column |
|
欄 |
Tree . . . gates . . . east. [20] |
|
1757 |
fight |
|
闘 |
Gates . . . table . . . glue. Do not confuse with contend (frame 1238). [18] |
|
1758 |
godown |
|
倉 |
The single gate is used here not in order to represent one gate, but many of them, indeed a meeting of gates. Add mouth (as an entrance here) and you end up with godown. That should help keep this character distinct from warehouse (frame 633). [10] |
|
1759 |
genesis |
|
創 |
Godown . . . saber. [12] |
|
1761 |
haiku |
|
俳 |
This character is used for the haiku, the 17-syllable poem that is one of Japan’s best-known literary forms. Its elements: person . . . jail cell. [10] |
|
1762 |
repudiate |
|
排 |
Fingers . . . jail cell. [11] |
|
1763 |
sad |
|
悲 |
Jail cell . . . heart. [12] |
|
1764 |
guilt |
|
罪 |
Eye . . . jail cell. [13] |
|
1765 |
comrade |
|
輩 |
Jail cell . . . car. [15] |
|
1766 |
front door |
|
扉 |
Door . . . jail cell. [12] |
|
1767 |
marquis |
|
侯 |
Person . . . key . . . dart. Hint: the pun suggested by the pronunciation of the key word and the primitive for key may come in helpful. [9] |
|
1768 |
throat |
|
喉 |
Mouth . . . marquis. [12] |
|
1769 |
climate |
|
候 |
Marquis . . . walking stick. Note where the walking stick is positioned in this kanji. [10] |
|
* |
guillotine |
|
|
This element depicts a large, sharpened coming down on the head of a criminal . [4] |
|
繊 繋 繍 |
|
1770 |
decide |
|
決 |
The etymology of decide (de-cidere = cut off ) will help here; the elements are: water . . . guillotine. [7] |
|
1771 |
cheerful |
|
快 |
State of mind . . . guillotine. [7] |
|
1772 |
admirable |
|
偉 |
Person . . . locket. [12] |
|
1773 |
difference |
|
違 |
Locket . . . road. [13] |
|
1774 |
horizontal |
|
緯 |
Thread . . . locket. [16] |
|
1775 |
defense |
|
衛 |
Boulevard . . . locket. Do not confuse with ward off (frame 1399), protect (frame 1072), guard (frame 198), or safeguard (frame 756). [16] |
|
1776 |
Korea |
|
韓 |
As with Italy (frame 1245) and Africa (frame 1391), this character simply abbreviates the full name of Korea. Its elements: mist . . . locket. [18] |
Lesson 43
The next few primitives are only loosely related in the sense that they all have to do with qualities of material objects in one way or another.
|
1778 |
liver |
|
肝 |
Part of the body . . . clothesline. [7] |
|
1779 |
publish |
|
刊 |
Clothesline . . . saber. [5] |
|
1780 |
sweat |
|
汗 |
Water . . . clothesline. [6] |
|
1781 |
flats |
|
軒 |
This counter for houses is made up of cars . . . clothesline. [10] |
|
1782 |
beach |
|
岸 |
Mountain . . . cliff . . . clothesline. [8] |
|
1783 |
tree trunk |
|
幹 |
Mist . . . umbrella . . . clothesline. The meaning of this key word extends beyond tree trunks to represent the main stem or line of anything from railway lines to managerial staffs. This should distinguish it from the stories used earlier for book (frame 224) and body (frame 1030), both of which made use of the image of a tree trunk, as well as the kanji for trunk (frame 194). [13] |
|
* |
potato |
|
于 |
Note how this element differs from in virtue of the small hook at the end of the third stroke. [3] |
|
祟 祠 祢 |
|
1784 |
potato |
|
芋 |
Flowers . . . potato. [6] |
|
1785 |
eaves |
|
宇 |
House . . . potato. [6] |
|
1787 |
exclude |
|
除 |
Pinnacle . . . scale. [10] |
|
1788 |
gradually |
|
徐 |
Line . . . scale. [10] |
|
1789 |
confer |
|
叙 |
Scale . . crotch. The key word has to do with conferring ranks, titles, and awards. It should not be confused with bestow (frame 1335) or impart (frame 795). [9] |
|
1790 |
route |
|
途 |
Scale . . . road. [10] |
|
1791 |
diagonal |
|
斜 |
Scale . . . measuring cup. [11] |
|
1792 |
paint |
|
塗 |
Water . . . scale . . . ground. [13] |
|
1793 |
bundle |
|
束 |
In the same way that we were able to see the sun in the tree within the kanji for east, here we see a square container in the shape of a mouth. [7] |
|
1794 |
trust |
|
頼 |
Bundle . . . head. [16] |
|
1795 |
rapids |
|
瀬 |
Water . . . trust. [19] |
|
1796 |
imperial order |
|
勅 |
In order to keep this character distinct from that for an imperial edict (frame 366), we must draw again on a pun. Think of the order here as a mail order or an order of pizza phoned in by the Emperor for delivery to the imperial palace. Then it will not be hard to put together bundle and muscle to form a story about an imperial order. [9] |
|
1797 |
alienate |
|
疎 |
Zoo . . . bundle. Note that the element for zoo is flattened out on the left just as leg (frame 1372) had been. This is the only time we will meet this form in this book. [12] |
|
1798 |
bitter |
|
辣 |
Spicy . . . bundle. [14] |
|
1799 |
quick |
|
速 |
Bundle . . . road. [10] |
|
1800 |
organize |
|
整 |
Bundle . . . taskmaster . . . correct. [16] Awl . . . saber. |
|
1801 |
saber |
|
剣 |
As we promised way back in frame 87, here at last is the kanji on which the primitive element of the same name is based. [10] |
|
1802 |
precipitous |
|
険 |
Pinnacle . . . awl. [11] |
|
1803 |
examination |
|
検 |
Tree . . . awl. [12] |
|
1804 |
frugal |
|
倹 |
Person . . . awl. [10] |
|
1805 |
heavy |
|
重 |
Thousand . . . ri. Note how the long vertical stroke doubles up to serve both elements. [9] |
|
祥 票 祭 祷 祺 祿 禀 禁 禄 |
|
1806 |
move |
|
動 |
Heavy . . . muscle. [11] |
|
1807 |
tumor |
|
腫 |
Flesh . . . heavy. [13] |
|
1808 |
meritorious deed |
|
勲 |
Move . . . oven fire. So as not to confuse this kanji with the general character for merit (frame 1369), you may associate the key word with military decorations and medals of distinction, both of which it is used for. [15] |
|
1809 |
work |
|
働 |
Person . . . move. Do not confuse with labor (frame 924). [13] |
|
1810 |
species |
|
種 |
Wheat . . . heavy. [14] |
|
1811 |
collide |
|
衝 |
Boulevard . . . heavy. [15] |
|
1812 |
fragrant |
|
薫 |
Flowers . . . heavy . . . oven fire. Do not confuse with incense (frame 977) or perfumed (frame 532). [16] |
Lesson 44
We may now pick up the remainder of the enclosure primitives, leaving only a few related to animals, which we will take up in Lesson 55. This lesson should give you a chance to review the general principles governing enclosures.
|
1813 |
ill |
|
病 |
Sickness . . . third class. [10] |
|
1814 |
stupid |
|
痴 |
Sickness . . . know. [13] |
|
1815 |
pox |
|
痘 |
Sickness . . . beans. [12] |
|
1816 |
symptoms |
|
症 |
Sickness . . . correct. [10] |
|
1817 |
carbuncle |
|
瘍 |
Sickness . . . piggy bank. [14] |
|
1818 |
lose weight |
|
痩 |
Sickness . . . monkey . . . crotch. [12] |
|
1819 |
rapidly |
|
疾 |
Be sure to keep this character distinct from quick (frame 1799) and swift (frame 298). Picture a succession of poison darts (the sort that inflict sickness) flying out rapid-fire from a blowgun, so that “rapid-fire” can conjure up the proper image. [10] |
|
1820 |
envy |
|
嫉 |
Woman . . . rapidly. [13] |
|
1821 |
diarrhea |
|
痢 |
Sickness . . . profit. [12] |
|
1822 |
scar |
|
痕 |
Sickness . . . silver. [11] |
|
1823 |
tired |
|
疲 |
Sickness . . . pelt. [10] |
|
1824 |
epidemic |
|
疫 |
Sickness . . . missile. [9] |
|
1825 |
pain |
|
痛 |
Sickness . . . chop-seal . . . screwdriver. [12] |
|
1826 |
mannerism |
|
癖 |
Sickness . . . ketchup. [18] |
|
1827 |
hide |
|
匿 |
Box . . . young. [10] |
|
禎 禔 禛 |
|
1828 |
artisan |
|
匠 |
Box . . . ax. [6] |
|
1829 |
doctor |
|
医 |
Box . . . dart. [7] |
|
1830 |
equal |
|
匹 |
Box . . . human legs. [4] |
|
1832 |
hinge |
|
枢 |
Tree . . . ward. [8] |
|
1833 |
assault |
|
殴 |
Ward . . . missile. [8] |
|
1834 |
Europe |
|
欧 |
Ward . . . yawn. Like the kanji of frame 1776, this character is an abbreviation of the name of a geographical region. [8] |
|
1835 |
repress |
|
抑 |
Fingers . . . box . . . stamps. [7] |
|
1836 |
faceup |
|
仰 |
This character is used both for lying on one’s back faceup, and for looking up to someone with respect and awe. Its elements: person . . . box . . . stamps. [6] |
|
1837 |
welcome |
|
迎 |
Box . . . stamps . . . road. [7] |
|
* |
teepee |
|
癶 |
The dots at the top of this tent are the wooden poles protruding outside the canvas walls of a teepee. [5] |
|
禝 禦 禧 禪 禮 |
|
1838 |
ascend |
|
登 |
Teepee . . . table. Do not confuse with rise up (frame 43). [12] |
|
1839 |
lucidity |
|
澄 |
Water . . . ascend. [15] |
|
1840 |
discharge |
|
発 |
This key word refers to the discharging of guns, trains, people, and even words. The elements: teepee . . . two . . . human legs. Contrast the writing with frame 63. [9] |
|
1841 |
abolish |
|
廃 |
Cave . . . discharge. [12] |
|
1842 |
colleague |
|
僚 |
Person . . . pup tent. Choose some connotation of the key word that will keep it distinct for you from companion (frame 19), friend (frame 760), consort (frame 1287), and comrade (frame 1765). [14] |
Lesson 45
We come now to a class of elements loosely associated with shape and form. We then append what remains of elements having to do with color.
|
1846 |
carve |
|
彫 |
The two primitives here, circumference and shape, belong naturally to the special connotations that differentiate carving from engrave (see frame 1639). [11] |
|
1847 |
shape |
|
形 |
Two hands . . . shape. [7] |
|
1848 |
shadow |
|
影 |
Scenery . . . shape. [15] |
|
1849 |
cedar |
|
杉 |
Tree . . . shape. [7] |
|
1850 |
coloring |
|
彩 |
Vulture . . . tree . . . shape. [11] |
|
1851 |
patent |
|
彰 |
Badge . . . shape. The key word is synonymous with “clear” or “openly expressed.” [14] |
|
1852 |
lad |
|
彦 |
Vase . . . cliff . . . shape. [9] |
|
禽 禾 禿 |
|
1853 |
face |
|
顔 |
Lad . . . head. [18] |
|
1854 |
ought |
|
須 |
Shape . . . head. This is the only time that shape is placed to the left of its relative element, the head. [12] |
|
1855 |
swell |
|
膨 |
Part of the body . . . drum . . . shape. Compare expand (frame 1199). [16] |
|
1856 |
visit |
|
参 |
Elbow . . . St. Bernard dog . . . shape. [8] |
|
1857 |
wretched |
|
惨 |
A state of mind . . . visit. [11] |
|
1858 |
discipline |
|
修 |
Person . . . walking stick . . . taskmaster . . . shape. [10] |
|
1859 |
rare |
|
珍 |
Ball . . . umbrella . . . shape. [9] |
|
1860 |
checkup |
|
診 |
Words . . . umbrella . . . shape. The key word refers to a medical examination. [12] |
|
1862 |
vis-à-vis |
|
対 |
Plaid . . . glue. [7] |
|
1863 |
family crest |
|
紋 |
Thread . . . plaid. [10] |
|
1864 |
mosquito |
|
蚊 |
Insect . . . plaid. [10] |
|
1865 |
speckled |
|
斑 |
Ball . . . plaid . . . ball. [12] |
|
* |
fenceposts |
|
|
This element means just what it looks like: two fenceposts. They enclose whatever comes between them, as distinct from a pair of (see frame 265). [2] |
|
1866 |
adjusted |
|
斉 |
Plaid . . . fenceposts . . . two. Do not confuse with just so (frame 414). [8] |
|
1867 |
dose |
|
剤 |
Adjust . . . saber. Think of this as a dose of medicine. [10] |
|
1868 |
finish |
|
済 |
Water . . . adjust. Do not confuse with complete (frame 101), end (frame 1452), or perfect (frame 199). [11] |
|
1869 |
purification |
|
斎 |
Plaid . . . fenceposts . . . altar. This is a “religious” purification, which distinguishes it from the simple kanji for pure (frame 1659). [11] |
|
1871 |
bases |
|
塁 |
The kanji of this frame refers to the four bases that are placed at the corners of a baseball infield. The elements: rice field . . . sparkler . . . ground. [12] |
|
1872 |
music |
|
楽 |
Dove . . . sparkler . . . tree. [13] |
|
1873 |
medicine |
|
薬 |
Flowers . . . music. [16] |
|
1874 |
ratio |
|
率 |
Mysterious . . . sparkler . . . ten. Do not confuse with proportion (frame 1673). [11] |
|
1875 |
astringent |
|
渋 |
Water . . . footprint . . . sparkler. [11] |
|
1876 |
vicarious |
|
摂 |
Fingers . . . ear . . . sparkler. Do not confuse with substitute (frame 1080). [13] |
|
1877 |
center |
|
央 |
The elements depict a St. Bernard with its head and paws keeping their stick-like form, but with the middle or center of its body filled out in a box-like shape. [5] |
|
1878 |
England |
|
英 |
Flowers . . . center. This is another abbreviation used to identify a country by the pronunciation of the kanji. [8] |
|
1879 |
reflect |
|
映 |
Sun . . . center. [9] |
|
1881 |
pardon |
|
赦 |
Red . . . taskmaster. [11] |
|
1882 |
unusual |
|
変 |
Apple . . . walking legs. [9] |
|
1883 |
tracks |
|
跡 |
Wooden leg . . . apple. [13] |
|
1884 |
barbarian |
|
蛮 |
Apple . . . insects. [12] |
|
1885 |
romance |
|
恋 |
Apple . . . heart. [10] |
|
1886 |
gulf |
|
湾 |
Water . . . apple . . . bow. [12] |
|
1887 |
yellow |
|
黄 |
Salad . . . sprout . . . animal legs. [11] |
|
1888 |
sideways |
|
横 |
Tree . . . yellow. [15] |
|
* |
mosaic |
|
巴 |
This element is shaped roughly like the , but pay attention to the difference when writing it. [4] |
|
秦 秧 秩 秬 |
|
1889 |
grasp |
|
把 |
Fingers . . . mosaic. [7] |
|
1890 |
color |
|
色 |
Bound up . . . mosaic. [6] |
|
1891 |
discontinue |
|
絶 |
Thread . . . color. [12] |
|
1892 |
glossy |
|
艶 |
Bountiful . . . color. [19] |
Lesson 46
A number of containers of various sorts can be gathered together here. Most of them have limited use as primitives, but none of them should cause any particular difficulty.
|
1894 |
sweet |
|
甘 |
This kanji is a pictograph of a small wicker basket. (The extra short stroke in the middle helps keep it distinct from the character for twenty.) All one needs to add is some image of sweet cakes or breads carried in the basket, and the union of picture and meaning is complete. Take care not to confuse with confectionary (frame 1203). [5] |
|
称 移 稀 稈 程 |
|
|
As a primitive, the pictograph’s meaning of a is used, a small one like the kind used for picnics. |
|
1895 |
navy blue |
|
紺 |
Thread . . . wicker basket. [11] |
|
1896 |
so-and-so |
|
某 |
The key word here refers to the adjective for an unspecified person or thing. Its elements: wicker basket . . . tree. [9] |
|
1897 |
conspire |
|
謀 |
Words . . . so-and-so. [16] |
|
1898 |
mediator |
|
媒 |
Woman . . . so-and-so. [12] |
|
1899 |
deceit |
|
欺 |
Bushel basket . . . yawn. [12] |
|
1900 |
chess piece |
|
棋 |
Tree . . . bushel basket. [12] |
|
1901 |
national flag |
|
旗 |
Banner . . . bushel basket. [14] |
|
1902 |
period |
|
期 |
Bushel basket . . . month. As the month indicates, this has to do with periods of time. [12] |
|
1903 |
Go |
|
碁 |
Bushel basket . . . stones. The key word refers to the Japanese game played with black and white colored stones on a lined board. [13] |
|
1904 |
fundamentals |
|
基 |
Bushel basket . . . soil. [11] |
|
1906 |
intuition |
|
勘 |
Tremendously . . . muscle. [11] |
|
1907 |
withstand |
|
堪 |
Soil . . . tremendously. [12] |
|
* |
purse |
|
|
By adding a single stroke at the bottom of the kanji for , we get a sort of pictograph of a purse. [5] |
|
1908 |
precious |
|
貴 |
Purse . . . shells. [12] |
|
1909 |
bequeath |
|
遺 |
Precious . . . road. [15] |
|
1911 |
defile |
|
潰 |
Water . . . precious. [15] |
Lesson 47
The several primitives we turn to next are all related to the position and disposition of things. The classification is somewhat arbitrary since we are getting hard pressed to organize the leftover primitives into tidy categories. In addition, from this lesson on, most references to key words with possibly confusing similarities will be omitted. Try to think of them yourself as you are going through these characters.
|
* |
shelf |
|
且 |
The pictographic representation in the primitive shown here is a small stand with horizontal shelves. Thus we give it the general meaning of a shelf. It differs from the kanji and primitive for an only in its final stroke, which extends beyond the two vertical strokes at both ends. Think of it as a shelf for special keepsakes or a glass bureau for knickknacks, keeping it distinct from the kanji we learned in frame 214. [5] |
|
1914 |
association |
|
組 |
Thread . . . shelf. [11] |
|
1915 |
coarse |
|
粗 |
Rice . . . shelf. [11] |
|
1916 |
tariff |
|
租 |
Wheat . . . shelf. [10] |
|
1917 |
aim at |
|
狙 |
Pack of wild dogs . . . shelf. [8] |
|
1918 |
ancestor |
|
祖 |
Altar . . . shelf. [9] |
|
1919 |
thwart |
|
阻 |
Pinnacle . . . shelf. [8] |
|
1920 |
investigate |
|
査 |
Tree . . . shelf. [9] |
|
1921 |
help |
|
助 |
Shelf . . . muscle. The reason why the shelf appears on the left here is that the right side is the normal position for muscle, the stronger primitive. Indeed, the only exception in all the kanji is the character for add (frame 932). [7] |
|
1922 |
best regards |
|
宜 |
This kanji is a polite way of expressing one’s best regards to another. Its elements: house . . . shelf. [8] |
|
1923 |
tatami mat |
|
畳 |
Rice field . . . crown . . . shelf. [12] |
|
1925 |
universal |
|
普 |
Row . . . sun. [12] |
|
1926 |
musical score |
|
譜 |
Words . . . universal. [19] |
|
1927 |
damp |
|
湿 |
Water . . . sun . . . row. [12] |
|
1928 |
appear |
|
顕 |
Sun . . . row . . . heads. [18] |
|
1929 |
slender |
|
繊 |
Thread . . . Thanksgiving . . . row. [17] |
|
1930 |
spirits |
|
霊 |
Rain . . . two . . . row. This character will refer only to the inhabitants of the “spirit world,” and not to moods or temperaments, for which we will learn another character in frame 2030. [15] |
|
1931 |
profession |
|
業 |
In a row upside down . . . not yet. [13] |
|
答 策 筝 |
|
1932 |
slap |
|
撲 |
Fingers . . . upside down in a row . . . husbands. [15] |
|
1935 |
submit |
|
供 |
Submit here is a transitive verb, meaning to offer or present. Its elements: person . . . strung together. [8] |
|
1936 |
uncommon |
|
異 |
Brains . . . together. [11] |
|
1937 |
wing |
|
翼 |
Feathers . . . uncommon. [17] |
|
1938 |
accept humbly |
|
戴 |
Thanksgiving . . . uncommon. [17] |
|
1939 |
deluge |
|
洪 |
Water . . . strung together. [9] |
|
1940 |
harbor |
|
港 |
Deluge . . . snakes. [12] |
|
1941 |
outburst |
|
暴 |
Sun . . . strung together . . . grains of rice. [15] |
|
1942 |
bomb |
|
爆 |
Fire . . . outburst. [19] |
|
1943 |
respect |
|
恭 |
Strung together . . . valentine. [10] |
|
1944 |
elect |
|
選 |
Two snakes . . . strung together . . . road. [15] |
|
1945 |
Mr. |
|
殿 |
Flags . . . strung together . . . missile. [13] |
Lesson 48
This next lesson is composed of characters whose primitives are grouped according to shape rather than meaning. Each of them makes use, in one way or another, of squares and crossing lines. While this might have brought confusion earlier, we know enough primitives at this stage to introduce them together without risking any confusion.
|
1946 |
well |
|
井 |
Recalling that there are no circular strokes, and that the shape of the square and the square within a square (frame 630) have already been used, it should be relatively easy to see how this character can be consider a pictograph of a well. [4] |
|
繞 繦 繧 繩 |
|
1948 |
surround |
|
囲 |
Well . . . pent in. [7] |
|
1949 |
till |
|
耕 |
Christmas tree . . . well. [10] |
|
1950 |
Asia |
|
亜 |
In this kanji, the abbreviation for Asia, you should be able to see the character for mouth behind the Roman numeral ii. [7] |
|
繪 繭 繰 繹 |
|
1951 |
bad |
|
悪 |
Asia . . . heart. [11] |
|
1954 |
contact |
|
触 |
Angle . . . insect. [13] |
|
1955 |
unravel |
|
解 |
Angle . . . dagger . . . cow. [13] |
|
1956 |
again |
|
再 |
Ball . . . with a belt hung on it. Note how the belt is drawn right after the first stroke of ball. [10] |
|
積 穎 穏 穐 穗 |
|
* |
funnel |
|
冓 |
. [10] |
|
穡 穢 穣 穩 穫 |
|
1957 |
lecture |
|
講 |
Words . . . funnel. [17] |
|
1958 |
subscription |
|
購 |
Shells . . . funnel. The key word is meant to suggest magazine subscriptions and the like. [17] |
|
1959 |
posture |
|
構 |
Tree . . . funnel. [14] |
|
1960 |
gutter |
|
溝 |
Water . . . funnel. [13] |
|
* |
scrapbook |
|
|
. It is most rare to see the come under its relative element. Note how it is straightened out to fill the space available. [5] |
|
穰 穴 究 穹 空 |
|
1961 |
argument |
|
論 |
Words . . . meeting . . . scrapbook. The argument here is a process of academic reasoning, not a personal quarrel or spat. [15] |
|
1962 |
ethics |
|
倫 |
Person . . . meeting . . . scrapbook. [10] |
|
1963 |
wheel |
|
輪 |
Car . . . meeting . . . scrapbook. [15] |
|
1964 |
partial |
|
偏 |
Person . . . door . . . scrapbook. The sense of the key word is that of having a bias or preference for someone or something. [11] |
|
1965 |
everywhere |
|
遍 |
Door . . . scrapbook . . . a road. [12] |
|
1966 |
compilation |
|
編 |
Thread . . . door . . . scrapbook. [15] |
|
1967 |
tome |
|
冊 |
This key word is a counter for books. It differs from scrapbook both in the writing order and in the extension of the second horizontal stroke. [5] |
|
穽 穿 突 |
|
1968 |
palisade |
|
柵 |
Tree . . . tome. [9] |
|
1969 |
code |
|
典 |
We introduce this character here because of its connection to the book-related kanji treated above. It is based on the character for bend (frame 1256), whose last stroke is lengthened to coincide with the first stroke of the element for tool. [8] |
Lesson 49
A few primitives having to do with groupings and classifications of people remain to be learned, and we may bring them all together here in this short lesson.
|
1970 |
family name |
|
氏 |
Pay close attention to the stroke order of the elements when learning to write this character. The elements: eyedropper . . . fishhook . . . a one . . . fishhook. [4] |
|
1971 |
paper |
|
紙 |
Thread . . . family name. [10] |
|
1972 |
marriage |
|
婚 |
Woman . . . family name . . . day. [11] |
|
* |
calling card |
|
氐 |
. [5] |
|
窃 窄 窈 窒 |
|
1973 |
lower |
|
低 |
Person . . . calling card. [7] |
|
1974 |
resist |
|
抵 |
Fingers . . . calling card. [8] |
|
1975 |
bottom |
|
底 |
Cave . . . calling card. [8] |
|
1976 |
people |
|
民 |
In place of the drop at the start of the character for family name, we have a mouth, which makes you think of the “vox populi.” [5] |
|
窓 窕 窖 窗 窘 |
|
1977 |
sleep |
|
眠 |
Eyes . . . people. [10] |
|
1978 |
catch |
|
捕 |
Fingers . . . dog tag. [10] |
|
1979 |
suckle |
|
哺 |
Mouth . . . dog tag. [10] |
|
1980 |
bay |
|
浦 |
Water . . . dog tag. [10] |
|
1981 |
bullrush |
|
蒲 |
Flowers . . . bay. [13] |
|
1982 |
shop |
|
舗 |
Cottage . . . dog tag. The key word refers to the noun, not the verb. [15] |
|
1983 |
supplement |
|
補 |
Cloak . . . dog tag. [12] |
|
1984 |
residence |
|
邸 |
Calling card . . . city walls. [8] |
|
1985 |
enclosure |
|
郭 |
Receive . . . city walls. [11] |
|
1986 |
county |
|
郡 |
Old boy . . . city walls. [10] |
|
1987 |
outskirts |
|
郊 |
Mingle . . . city walls. [9] |
|
1988 |
section |
|
部 |
Muzzle . . . city walls. [11] |
|
1989 |
metropolis |
|
都 |
Puppet . . . city walls. [11] |
|
1990 |
|
|
郵 |
Droop . . . city walls. [11] |
|
1991 |
home country |
|
邦 |
Bushes . . . city walls. [7] |
|
1992 |
interrogative |
|
那 |
Sword . . . two . . . city walls. Used classically to indicate an interrogative part of speech, this character is used chiefly now for its sound. [7] |
|
1993 |
hometown |
|
郷 |
Cocoon . . . silver . . . city walls. [11] |
|
1994 |
echo |
|
響 |
Hometown . . . sound. [20] |
|
1995 |
son |
|
郎 |
Halo . . . city walls. [9] |
|
1996 |
corridor |
|
廊 |
Cave . . . son. [12] |
Lesson 50
In this lesson we simply present an assortment of leftover primitives that were not introduced earlier for want of a proper category or because we had not enough elements to give sufficient examples of their use.
|
1997 |
shield |
|
盾 |
Dragging . . . ten eyes. [9] |
|
1998 |
sequential |
|
循 |
Line . . . shield. [12] |
|
1999 |
faction |
|
派 |
Water . . . drag . . . rag. Back in frame 1127 we indicated that this latter primitive would come up once again, as it does in this and the following two frames. [9] |
|
2000 |
vein |
|
脈 |
Part of body . . . drag . . . rag. [10] |
|
2001 |
masses |
|
衆 |
Blood . . . drag . . . rag. [12] |
|
2002 |
parcel post |
|
逓 |
Drag . . . cornstalk . . . belt . . . road. [10] |
|
2004 |
forge |
|
鍛 |
Drag . . . one . . . mouth. [6] |
|
2005 |
empress |
|
后 |
|
* |
clothes hanger |
|
|
This element, which looks something like a backwards we will call a clothes hanger. Used as an enclosure, it begins further to the left. [1] |
|
並 |
|
2006 |
phantasm |
|
幻 |
Cocoon . . . clothes hanger. [4] |
|
2007 |
director |
|
司 |
Clothes hanger . . . one . . . mouth. [5] |
|
2008 |
pay respects |
|
伺 |
This honorific form of call on (frame 534) is made up of: person . . . director. [7] |
|
2009 |
parts of speech |
|
詞 |
The key word, parts of speech, refers to nouns, verbs, adjective, adverbs, and so on. The elements: words . . . directors. [12] |
|
2010 |
domesticate |
|
飼 |
Eat . . . director. The sense is of rearing of animals. [13] |
|
2011 |
heir |
|
嗣 |
Mouth . . . scrapbook . . . director. [13] |
|
2012 |
boat |
|
舟 |
After the drop and the glass canopy, we come to a combination of three strokes that we met only once before, in the character for mama (frame 105). The pictographic meaning we gave it there has no etymological relationship to this character, but use it if it helps. [6] |
|
竍 竏 竑 竒 竓 竕 |
|
2014 |
navigate |
|
航 |
Boat . . . whirlwind. [10] |
|
2015 |
gunwale |
|
舷 |
Boat . . . mysterious. [11] |
|
2016 |
carrier |
|
般 |
Boat . . . missile. [10] |
|
2017 |
tray |
|
盤 |
Carrier . . . dish. [15] |
|
2018 |
conveyor |
|
搬 |
Fingers . . . carrier. [13] |
|
2019 |
ship |
|
船 |
Boat . . . gully. [11] |
|
2020 |
warship |
|
艦 |
Boat . . . oversee. [21] |
|
2021 |
rowboat |
|
艇 |
Boat . . . courts. [13] |
|
2022 |
melon |
|
瓜 |
The only thing that distinguishes this from the claw is the elbow, made by doubling up the third stroke and adding a fourth. [5] |
|
站 竚 竝 竟 章 |
|
2023 |
arc |
|
弧 |
Bow . . . melon. [8] |
|
2024 |
orphan |
|
孤 |
Child . . . melon. [8] |
Lesson 51
As we said we would do back in Lesson 28, we now leave the beaten path to gather up those characters left aside because they form exceptions to the rules and patterns we have been learning. The list is not large and has a number of repeating patterns. Aside from the few others we shall interpose in the next section where they belong, and three characters appended at the very end, this will complete our collection of special characters. This is probably the most difficult lesson of the book.
|
2026 |
benefit |
|
益 |
Poised over the dish is a pair of animal horns that are attached to a pair of animal legs by a single horizontal stroke. [10] |
|
竧 竪 竫 |
|
2028 |
spread |
|
敷 |
At the top we have the arrowhead whose vertical line joins it to the rice field (or brains) below it. Beneath it, the compass; and to the right, the taskmaster. [15] |
|
竹 竺 竿 |
|
2029 |
come |
|
来 |
This odd but common kanji is built up of the character for not yet into which a pair of animal horns has been inserted. [7] |
|
笂 笄 笆 笈 笊 笋 笏 |
|
2030 |
spirit |
|
気 |
The spirit in this character refers to the changeable moods and airs of one’s personality as well as to the more essential combination of vital forces that distinguish things and individuals one from the other. Its elements are: reclining . . . floor . . . hook . . . sheaf. Do not confuse with spirits (frame 1930). [6] |
|
2031 |
vapor |
|
汽 |
Think of this character as a sibling of that for spirit. Simply replace sheaves with drops of water on the left in order to get vapor. [7] |
|
2034 |
pillow |
|
枕 |
Tree . . . crown tied around one leg of a person. [8] |
|
2035 |
wife |
|
妻 |
Ten . . . rakes . . . woman. [8] |
|
第 笳 笵 笶 笹 筅 |
|
2036 |
nifty |
|
凄 |
Ice . . . wife. [10] |
|
2039 |
mask |
|
面 |
Imagine a mask over your head with eyes peeping out from all over the head, a hundred in all (the element for eye displacing the fifth stroke of that for hundred). [9] |
|
筥 筧 筬 筮 筰 筱 筴 筵 筺 |
|
2040 |
noodles |
|
麺 |
Barley . . . mask. [16] |
|
2042 |
shoes |
|
靴 |
Leather . . . change. [13] |
|
2043 |
hegemony |
|
覇 |
Old West . . . leather . . . moon. [19] |
|
2045 |
eyebrow |
|
眉 |
The flag here has an extra vertical stroke in it. Think of it as an eyebrow pencil stuck in the eye. [9] |
|
2046 |
give |
|
呉 |
The complex of strokes in this kanji is unusual and difficult, because of the fourth stroke, which is rare (see frames 33 and 34). The mouth and tool are already familiar. [7] |
|
箞 箟 管 |
|
2047 |
recreation |
|
娯 |
Woman . . . give. [10] |
|
2048 |
mistake |
|
誤 |
Words . . . give. [14] |
|
2051 |
bin |
|
函 |
This is the character from which the element for shovel derives. Within it comes the element for snare, with the sparkler surrounding it. [8] |
|
篏 篝 篠 篤 篥 篦 篩 篭 |
Lesson 52
The final grouping of kanji revolves about elements related to animals. It is a rather large group, and will take us all of four lessons to complete. We begin with a few recurring elements related to parts of animal bodies.
|
2053 |
tusk |
|
牙 |
f you play with this primitive’s form with pencil and paper, you will see that it begins with a box-like shape, and ends with the final two strokes of the halberd, a convenient combination for the tusk protruding from the mouth of an animal. [4] |
|
纈 纉 纊 續 |
|
|
Since this kanji has 4 strokes, you would expect that as a primitive it would also have 4—but in fact it has 5 in the following two frames (the second stroke between divided into 2 strokes) and reverts to 4 again in frame 2056. |
|
2054 |
bud |
|
芽 |
Flowers . . . tusk. [8] |
|
2055 |
wicked |
|
邪 |
Tusk . . . city walls. [8] |
|
2056 |
gracious |
|
雅 |
Tusk . . . an old turkey. [12] |
|
* |
animal tracks |
|
釆 |
Having already met the primitive for human , we now introduce the one for animal tracks. Its elements are simply: . [7] |
|
2057 |
interpretation |
|
釈 |
Animal tracks . . . shakuhachi. [11] |
|
2059 |
hearing |
|
審 |
The hearing referred to in this character relates to trials in the courts. The elements: house . . . dice. [15] |
|
2060 |
flip |
|
翻 |
Dice . . . feathers. [18] |
|
2061 |
clan |
|
藩 |
Flowers . . . water . . . dice. [18] |
|
2063 |
decrease |
|
耗 |
Christmas tree . . . fur. [10] |
|
2064 |
tail |
|
尾 |
Flag . . . fur. [7] |
|
* |
lock of hair |
|
|
Having already met the primitive for human , we now introduce the one for animal tracks. Its elements are simply: . [7] |
|
2065 |
home |
|
宅 |
House . . . lock of hair. [6] |
|
2066 |
consign |
|
託 |
Words . . . lock of hair. [10] |
|
2068 |
falsehood |
|
偽 |
Person . . . do. [11] |
|
* |
hairpin |
|
|
Here we have a quasi-pictograph of the colorful and decorated clips used to bind up long hair. Note its similarity to the , which differs only by the addition of one stroke. [4] |
|
簾 簿 籀 籃 |
|
2069 |
apprehensive |
|
畏 |
Rice field . . . hairpin. [9] |
|
2071 |
lengthen |
|
張 |
Bow . . . long. [11] |
|
2072 |
notebook |
|
帳 |
Towel . . . long. [11] |
|
2073 |
dilate |
|
脹 |
Flesh . . . long. [12] |
|
2074 |
hair of the head |
|
髪 |
Hair . . . shape . . . friend. [14] |
|
2075 |
unfold |
|
展 |
Flag . . . salad . . . hairpin. [10] |
|
2076 |
miss |
|
喪 |
Soil . . . two mouths . . . hairpin. Hint: see spit (frame 162). The key word carries the wide range of meanings readily associated with it: error, loss, absence, and so on. [12] |
|
駅 駆 駇 駈 駐 駑 |
Lesson 53
We turn now to the animals themselves, beginning with the smaller animals. Because of the fair number of limited-use primitives, this lesson will supply a larger than normal number of stories in complete or semi-complete form.
|
2077 |
nest |
|
巣 |
Owl . . . fruit. [11] |
|
2078 |
simple |
|
単 |
Owl . . . brain . . . needle. The sense is “not complex.” [9] |
|
籌 籍 籏 籐 籔 籖 |
|
2079 |
war |
|
戦 |
Simple . . . fiesta. [13] |
|
2080 |
Zen |
|
禅 |
Altar . . . simple. [13] |
|
2081 |
bullet |
|
弾 |
Bow . . . simple. [12] |
|
2082 |
cherry tree |
|
桜 |
Tree . . . owl . . . woman. [10] |
|
2083 |
animal |
|
獣 |
Owl . . . rice field . . . one . . . mouth . . . chihuahua. [16] |
|
2084 |
brain |
|
脳 |
Part of the body . . . owl . . . villain. By way of exception, the kanji for brain has no connection with the primitive for brains. [11] |
|
2085 |
trouble |
|
悩 |
State of mind . . . owl . . . villain. [10] |
|
2086 |
stern |
|
厳 |
Owl . . . cliff . . . daring. [17] |
|
2088 |
raise |
|
挙 |
Owl . . . tool . . . hand. [10] |
|
2089 |
reputation |
|
誉 |
Owl . . . tool . . . saying. [13] |
|
2090 |
game hunting |
|
猟 |
Pack of wild dogs . . . owl . . . wind . . . cornstalk. [11] |
|
2091 |
bird |
|
鳥 |
Dove . . . one . . . tail feathers. This is, of course, the character from which we derived the primitive meaning of dove. Note the lengthening of the second stroke. [11] |
|
籘 籟 籠 籤 籥 |
|
2092 |
chirp |
|
鳴 |
Mouth . . . bird. [14] |
|
2093 |
crane |
|
鶴 |
Turkey house . . . bird. The first element appears on only one other occasion, back in frame 609. [21] |
|
2095 |
vine |
|
蔦 |
Flower . . . bird. [14] |
|
2096 |
pigeon |
|
鳩 |
Baseball . . . bird. [13] |
|
2097 |
chicken |
|
鶏 |
Vulture . . . husband . . . bird. [19] |
|
2098 |
island |
|
島 |
The bird’s tail is tucked under here, because it has come to stop on a mountain to rest from its journey across the waters. Thus the kanji comes to mean an island. [10] |
|
2099 |
warmth |
|
暖 |
Unlike the connotation of warm weather learned for an earlier key word, (frame 1560), this key word will be used to refer to the warmth of human congeniality. Its elements are: sun . . . migrating ducks. [13] |
|
2100 |
beautiful woman |
|
媛 |
Woman . . . migrating ducks. [12] |
|
2101 |
abet |
|
援 |
Fingers . . . migrating ducks. [12] |
|
2102 |
slacken |
|
緩 |
Thread . . . migrating ducks. [15] |
|
2103 |
belong |
|
属 |
Flag . . . gnats (see frame 563) . . . with a belt. [12] |
|
粁 粂 粃 粉 粋 |
|
2104 |
entrust |
|
嘱 |
Mouth . . . belong. [15] |
|
2106 |
interview |
|
遇 |
Talking Cricket . . . road. [12] |
|
2107 |
foolish |
|
愚 |
Talking Cricket . . . heart. [13] |
|
2108 |
corner |
|
隅 |
Pinnacle . . . Talking Cricket. [12] |
|
2109 |
inverted |
|
逆 |
Mountain goat . . . road. [9] |
|
2110 |
model |
|
塑 |
This kanji depicts the art of modeling clay or wood into a figure of your choice. The elements for composing it are: mountain goat . . . moon . . . soil. [13] |
|
2111 |
go upstream |
|
遡 |
Mountain goat . . . moon . . . road. [13] |
|
2112 |
Mount |
|
岡 |
Here we see a mountain goat “mounted” under a glass canopy. In this and the following frames, think of a particular Mount you know. [8] |
|
2113 |
steel |
|
鋼 |
Metal . . . Mount. [16] |
|
2114 |
hawser |
|
綱 |
Thread . . . Mount. [14] |
|
2115 |
sturdy |
|
剛 |
Mount . . . saber. [10] |
|
2116 |
tin can |
|
缶 |
Though the meaning has no reference to animals, the parts do: horse with a mountain underneath. [6] |
|
2117 |
pottery |
|
陶 |
Pinnacle . . . bound up . . . tin can. [11] |
|
* |
condor |
|
|
. By now you should be used to finding two elements double up on a stroke, as is the case here with and . [9] |
|
粡 粢 粤 |
|
2118 |
swing |
|
揺 |
Fingers . . . condor. [12] |
|
2119 |
Noh chanting |
|
謡 |
Words . . . condor. [16] |
|
2120 |
gloom |
|
鬱 |
Learning this character will take a little doing. Before we start, it is a good idea to keep the key word distinct from melancholy (frame 663), with which it combines to create the psychological condition of depression (a metaphor based on the hollow or sinking of the material depression we met in frame 1421). The picture of gloom begins with a small grove of trees, under which we see a crown made out of used tin cans. Next (the lower half of the kanji) we find a combination that appears only a few times in modern characters and only once in those treated in the volumes of Remembering the Kanji. It is composed of a shovel with a sheaf dotted with small drops on all sides. Think of it as the large scoop shovel attached to the front of a bulldozer, whose driver is singing: M “Bulldozing in the sheaves, bulldozing in the sheaves…” N The drops represent the chaff flying about as the sheaves are tossed about by the heavy machinery. There is someone sitting on the ground alongside, watching as the machinery makes its way around the neighboring farmland—and it’s you, wearing your tin-can crown. You feel overwhelmed by the impending doom as the invasion of agro-business draws closer and closer to the grove, the only patch of woods that remains of what once was a vast forest. The whole scene represents a re-shaping of the natural environment that brings the heavy weight of gloom down upon you. A bit much, perhaps, but there are enough elements to allow for any number of other combinations. [29] |
|
鰍 鰐 鰒 鰓 鰔 鰕 鰛 鰡 鰤 鰥 鰭 鰮 |
|
2121 |
concerning |
|
就 |
Capital . . . chihuahua with a human leg in place of one of its paws. [12] |
|
2122 |
kick |
|
蹴 |
Wooden leg . . . concerning. [19] |
|
2123 |
sociable |
|
懇 |
Skunk . . . silver . . . heart. [17] |
|
2124 |
groundbreaking |
|
墾 |
The groundbreaking referred to here is not for the erection of new buildings but for the opening of farmlands. The elements: skunk . . . silver . . . soil. [16] |
|
2125 |
countenance |
|
貌 |
Skunk . . . white . . . human legs. [14] |
|
2127 |
elude |
|
逸 |
Rabbit . . . road. [11] |
|
2128 |
nightfall |
|
晩 |
Sun . . . rabbit. [12] |
|
2129 |
exertion |
|
勉 |
Rabbit . . . muscle. Notice how the last stroke of rabbit is stretched out to underlie the element for muscle. [10] |
|
2130 |
elephant |
|
象 |
A rabbit’s head with the body of a sow represents an elephant. Little wonder that the kanji also means “phenomenon”! [12] |
|
2131 |
statue |
|
像 |
Person . . . elephant. [14] |
Lesson 54
Now that we have come as far as the elephant, we may continue on with more of the larger animals. Fortunately, this group will cause us much less of a headache than the preceding series, since there are fewer new primitives and their use is more frequent.
|
2134 |
verification |
|
験 |
Team of horses . . . awl. [18] |
|
2135 |
equestrian |
|
騎 |
Team of horses . . . strange. [18] |
|
2136 |
parking |
|
駐 |
Team of horses . . . candlestick. [15] |
|
2137 |
drive |
|
駆 |
Team of horses . . . ward. [14] |
|
2138 |
station |
|
駅 |
Team of horses . . . shakuhachi. [14] |
|
2139 |
boisterous |
|
騒 |
Team of horses . . . crotch . . . insect. [18] |
|
2140 |
burdensome |
|
駄 |
Team of horses . . . plump. [14] |
|
2141 |
wonder |
|
驚 |
Awe . . . team of horses. [22] |
|
2142 |
fervent |
|
篤 |
Bamboo . . . team of horses. [16] |
|
2143 |
insult |
|
罵 |
Eyeball . . . team of horses. [15] |
|
2144 |
inflation |
|
騰 |
Flesh . . . quarter . . . team of horses. [20] |
|
2146 |
captive |
|
虜 |
Tiger . . . man. [13] |
|
2147 |
skin |
|
膚 |
Tiger . . . stomach. [15] |
|
2148 |
void |
|
虚 |
Tigers . . . row. [11] |
|
2149 |
frolic |
|
戯 |
Void . . . fiesta. [15] |
|
2150 |
uneasiness |
|
虞 |
Tiger . . . give. [13] |
|
2151 |
prudence |
|
慮 |
Tiger . . . think. [15] |
|
2152 |
drama |
|
劇 |
Tiger . . . sow . . . saber. [15] |
|
2153 |
tyrannize |
|
虐 |
Tiger . . . box with a one in it (or a backwards broom, if that makes it easier). [9] |
|
2154 |
deer |
|
鹿 |
Drawn on the walls of a complex of caves near Niaux in southern France are a number of animal likenesses dating from the Upper Paleolithic period. Among them we find pictures of deer, some of them showing men in deer masks. By comparing their drawings to real deer, Stone Age people hoped to acquire power over the animal in the hunt; and by comparing themselves to the deer, to take on that animal’s characteristics. But time has locked with a “double-key” (the extra stroke through the element for key) the real secret of this art form from us, and we can only surmise such meanings. But more important than the enigmas of the troglodytic mind is the way in which caves, a double-key, and comparing gives us the kanji for deer. [11] |
|
糲 糴 糵 糶 糸 糺 |
|
|
As a primitive, this kanji is abbreviated much the same as the was: the lower element is dropped to leave room for a replacement: . Its meaning, however, remains the same. There are a very few cases (see frame 2158) in which there is no abbreviation. When this happens, we may keep the image suggested by the above explanation: . |
|
2155 |
foot of a mountain |
|
麓 |
Grove . . . deer. [19] |
|
2156 |
recommend |
|
薦 |
Flowers . . . deer . . . one . . . tail feathers. Note the doubling up in these last two elements as in frame 2091. [16] |
|
2157 |
jubilation |
|
慶 |
Deer . . . crown (note the doubling up) . . . heart . . . walking legs. You may recall that we met the relative primitives at the bottom here before, in the kanji for melancholy (frame 663). [15] |
|
2159 |
bear |
|
熊 |
Elbow . . . flesh . . . spoon atop spoon . . . oven fire. [14] |
|
2160 |
ability |
|
能 |
Try relating this kanji to that of the previous frame. For instance, you might imagine that the test of ability envisioned here is removing the bear from the oven fire. [10] |
|
2161 |
attitude |
|
態 |
Ability . . . heart. [14] |
Lesson 55
The final grouping of kanji is based on primitives related to fantastical animals and beings. We begin with two animals belonging to the zodiac.
|
2162 |
sign of the tiger |
|
寅 |
House . . . ceiling . . . sprout . . . animal legs. Compare, and do not confuse with, the kanji in frame 1887. [11] |
|
2163 |
performance |
|
演 |
Water . . . sign of the tiger. [14] |
|
2164 |
sign of the dragon |
|
辰 |
Cliff . . . two . . . hairpins. [7] |
|
2165 |
embarrass |
|
辱 |
Sign of the dragon . . . glue. [10] |
|
2166 |
quake |
|
震 |
Weather . . . sign of the dragon. [15] |
|
2167 |
shake |
|
振 |
Fingers . . . sign of the dragon. [10] |
|
2168 |
with child |
|
娠 |
Woman . . . sign of the dragon. The key word is a synonym for pregnant, whose character we met earlier (frame 546). Although the two kanji are often used together, they should be kept distinct. [10] |
|
2169 |
lips |
|
唇 |
Sign of the dragon . . . mouth. [10] |
|
2170 |
agriculture |
|
農 |
Bend . . . sign of the dragon. [13] |
|
2171 |
concentrated |
|
濃 |
Among other things, the key word refers to the thick consistency of liquids. Its elements: water . . . agriculture. [16] |
|
2172 |
send off |
|
送 |
Road . . . golden calf. [9] |
|
2173 |
connection |
|
関 |
Gates . . . golden calf. [14] |
|
2174 |
blossom |
|
咲 |
Mouth . . . golden calf. [9] |
|
2175 |
ghost |
|
鬼 |
Drop of . . . brains . . . human legs . . . elbow. [10] |
|
2176 |
ugly |
|
醜 |
Whiskey bottle . . . ghost. [17] |
|
2177 |
soul |
|
魂 |
Rising cloud of . . . ghosts. [14] |
|
2178 |
witch |
|
魔 |
Hemp . . . ghost. Take care not to confuse with the primitive of the same name learned earlier (page 164). [21] |
|
2179 |
fascination |
|
魅 |
Ghost . . . not yet. [15] |
|
2180 |
clod |
|
塊 |
Soil . . . ghost. [13] |
|
2181 |
attack |
|
襲 |
Vase . . . flesh . . . slingshot (doubled up with) snake . . . three . . . garment. The top half of this character is the old form for the kanji in frame 575. [22] |
|
系 糾 紀 紂 約 紅 紆 紊 紋 |
Lesson 56
This, the last of all the Lessons, is intended to complete preparations for learning new kanji not treated in these pages. A group of 19 such kanji has been reserved for this purpose and arranged in four groups typifying the kinds of problems you can run into. Aside from help with unusual stroke order and the indication of the total number of strokes in square brackets, no hints will be given.
The first and simplest group will be composed of those whose parts you will recognize immediately from characters already learned. We list seven examples, each representing one of the principles governing primitives.
|
2182 |
upbraid |
|
嚇 |
[17] |
|
2183 |
majestic plural |
|
朕 |
[10] |
|
2184 |
atmosphere |
|
雰 |
[12] |
|
2185 |
item |
|
箇 |
[14] |
|
2186 |
tempering |
|
錬 |
[16] |
|
2187 |
abide by |
|
遵 |
[15] |
|
2188 |
quit |
|
罷 |
[15] |
Secondly, you may run into characters that you learned as primitives, but whose meaning is completely unrelated to the primitive meaning we adopted. In learning the meaning of the kanji, be careful not to forget what it stands for when used as a primitive element.
|
2189 |
barracks |
|
屯 |
[4] |
|
2190 |
moreover |
|
且 |
[5] |
In the third place, you will meet kanji using combinations of elements that you can make into a new primitive with its own particular meaning. Recall a previous kanji in which this combination appears and adjust your story to reinforce your new invention.
|
2191 |
seaweed |
|
藻 |
[19] |
|
2192 |
slave |
|
隷 |
[16] |
|
2193 |
healing |
|
癒 |
[18] |
|
2194 |
imperial seal |
|
璽 |
[19] |
Finally, there are shapes that were not covered in this book. You are on your own here, but it may help to consult a kanji dictionary to see whether any of the parts might not be a character with a specific and useful meaning. In many cases, as in the following two frames, the unfamiliar pieces will turn out to be parts of known characters or primitives (the bird in frame 2195 and the boat in frame 2196).
|
2195 |
lagoon |
|
潟 |
[15] |
|
2196 |
cinnabar |
|
丹 |
[4] |
Scattered here and there throughout the foregoing 55 lessons several figures of the Sino-Japanese zodiac were introduced. We conclude this lesson, and the book, with the remaining figures. In all, there are twelve animals, several of which take their writing from other characters quite unrelated in meaning. So far, then, we have learned the following: rat (子), tiger (寅), dragon (辰), horse (午), ram (未), monkey (申), bird (酉), dog (戌), and hog (亥). This leaves three for the learning, and one new associated kanji.
|
2197 |
sign of the cow |
|
丑 |
[4] |
|
納 紐 純 紕 |
|
2198 |
humiliate |
|
羞 |
Wool . . sign of the cow. [11] |
|
2199 |
sign of the hare |
|
卯 |
[5] |
|
2200 |
sign of the snake |
|
巳 |
[3] |
Valeant benefici,
Poenas dent malefici!
index 1
Primitive Elements
This Index lists all the primitive elements of this book, except for those treated as kanji on their own. Note that not all possible alternate forms are given here and that not all primitive forms with the same meaning appear side by side.
The primitives are arranged according to the number of strokes. Tap on any primitive to view it in context.
1 画
2 画
3 画
|
.. 睆 |
4 画
5 画
6 画
index 2
Kanji in Stroke Order
Here you will find all the kanji treated in this book, grouped by the number of strokes. The ordering within each stroke-number group follows the standard dictionary practice of arranging the kanji according to “radicals.”
Tap on any character to go to its frame.
1 画
2 画
3 画
|
土 |
|||||||||
4 画
5 画
|
写 |
|||||||||
|
広 |
|||||||||
|
旦 |
末 |
||||||||
6 画
index 3
Key Words & Primitive Meanings
This final Index contains a cumulative list of all the key words and primitive meanings used in this book. Tap on any term to see it in context. Remember that primitive meanings introduced in connection with a kanji do not have their own frame.
|
壱 |
弐 |
A
|
棄 |
||||
|
略 |
腹 |
|||
|
援 |
遵 |
|||
|
能 |
廃 |
|||
|
頃 |
上 |
|||
|
該 |
裕 |
|||
|
弊 |
受 |
|||
|
戴 |
偶 |
|||
|
従 |
達 |
|||
|
累 |
訴 |
|||
|
慣 |
功 |
|||
|
酸 |
認 |
|||
|
承 |
||||
|
加 |
||||
|
宛 |
付 |
|||
|
斉 |
偉 |
|||
|
警 |
崇 |
|||
|
巧 |
進 |
|||
|
件 |
||||
|
縁 |
附 |
|||
|
患 |
阿 |
|||
|
再 |
又 |
|||
|
齢 |
攻 |
|||
|
肯 |
農 |
|||
|
扶 |
狙 |
|||
|
疎 |
皆 |
|||
|
盟 |
充 |
|||
|
施 |
||||
|
迭 |
蓄 |
|||
|
望 |
祖 |
|||
|
角 |
||||
|
釣 |
怒 |
|||
|
獣 |
||||
|
牲 |
||||
|
添 |
反 |
|||
|
煩 |
||||
|
謝 |
顕 |
|||
|
称 |
||||
|
応 |
逮 |
|||
|
畏 |
賛 |
|||
|
杏 |
||||
|
弧 |
烈 |
|||
|
論 |
||||
|
腕 |
甲 |
|||
|
脇 |
軍 |
|||
|
憤 |
拘 |
|||
|
到 |
匂 |
|||
|
傲 |
||||
|
術 |
||||
|
匠 |
伎 |
|||
|
登 |
灰 |
|||
|
亜 |
措 |
|||
|
殴 |
||||
|
資 |
佐 |
|||
|
組 |
確 |
|||
|
迷 |
渋 |
|||
|
雰 |
襲 |
|||
|
仕 |
装 |
|||
|
態 |
嬌 |
|||
|
謁 |
殖 |
|||
|
祥 |
権 |
|||
|
秋 |
陪 |
|||
|
醒 |
敬 |
|||
|
斤 |
||||
|
軸 |
B
|
児 |
裏 |
|||
|
悪 |
章 |
|||
|
俵 |
荷 |
|||
|
焼 |
||||
|
球 |
票 |
|||
|
竹 |
笹 |
|||
|
笠 |
||||
|
宴 |
蛮 |
|||
|
廉 |
麦 |
|||
|
爵 |
屯 |
|||
|
酌 |
||||
|
塁 |
盆 |
|||
|
篭 |
浴 |
|||
|
浦 |
岸 |
|||
|
豆 |
熊 |
|||
|
撃 |
媛 |
|||
|
美 |
招 |
|||
|
床 |
蜂 |
|||
|
先 |
予 |
|||
|
乞 |
元 |
|||
|
惑 |
後 |
|||
|
鐘 |
鈴 |
|||
|
属 |
下 |
|||
|
曲 |
||||
|
益 |
徳 |
|||
|
遺 |
宜 |
|||
|
与 |
妖 |
|||
|
斗 |
貼 |
|||
|
函 |
鳥 |
|||
|
酉 |
||||
|
辣 |
||||
|
黒 |
墨 |
|||
|
胆 |
刃 |
|||
|
責 |
館 |
|||
|
福 |
盲 |
|||
|
楷 |
版 |
|||
|
塞 |
||||
|
血 |
咲 |
|||
|
吹 |
青 |
|||
|
瑠 |
紺 |
|||
|
崖 |
猪 |
|||
|
搭 |
誇 |
|||
|
舟 |
体 |
|||
|
煮 |
||||
|
騒 |
爆 |
|||
|
債 |
||||
|
本 |
||||
|
盛 |
借 |
|||
|
胸 |
両 |
|||
|
底 |
枝 |
|||
|
岩 |
||||
|
街 |
||||
|
境 |
豊 |
|||
|
弓 |
鉢 |
|||
|
弦 |
||||
|
箱 |
升 |
|||
|
坊 |
爽 |
|||
|
脳 |
||||
|
支 |
岐 |
|||
|
揮 |
毀 |
|||
|
息 |
||||
|
牧 |
醸 |
|||
|
茨 |
賄 |
|||
|
婿 |
橋 |
|||
|
明 |
育 |
|||
|
拡 |
錦 |
|||
|
兄 |
||||
|
弟 |
褐 |
|||
|
筆 |
||||
|
画 |
泡 |
|||
|
湧 |
||||
|
芽 |
||||
|
仏 |
僧 |
|||
|
寺 |
建 |
|||
|
弾 |
||||
|
蒲 |
的 |
|||
|
苛 |
束 |
|||
|
拙 |
駄 |
|||
|
局 |
官 |
|||
|
賊 |
燃 |
|||
|
埋 |
||||
|
奔 |
||||
|
忙 |
況 |
|||
|
蝶 |
||||
|
尻 |
買 |
|||
|
以 |
||||
|
傍 |
C
|
曹 |
||||
|
禍 |
算 |
|||
|
暦 |
||||
|
訪 |
呼 |
|||
|
穏 |
||||
|
椿 |
陣 |
|||
|
楠 |
可 |
|||
|
缶 |
||||
|
砲 |
幌 |
|||
|
帽 |
||||
|
埼 |
京 |
|||
|
畿 |
覆 |
|||
|
虜 |
囚 |
|||
|
車 |
瘍 |
|||
|
鯉 |
般 |
|||
|
運 |
||||
|
彫 |
幣 |
|||
|
鋳 |
城 |
|||
|
猫 |
梓 |
|||
|
捕 |
||||
|
釜 |
因 |
|||
|
窟 |
||||
|
孔 |
||||
|
杉 |
||||
|
祝 |
||||
|
劾 |
||||
|
央 |
||||
|
穀 |
儀 |
|||
|
摩 |
||||
|
鎖 |
椅 |
|||
|
挑 |
堂 |
|||
|
化 |
唱 |
|||
|
課 |
||||
|
焦 |
字 |
|||
|
炭 |
||||
|
追 |
討 |
|||
|
診 |
頬 |
|||
|
快 |
桜 |
|||
|
棋 |
栗 |
|||
|
栃 |
粋 |
|||
|
鶏 |
伯 |
|||
|
子 |
||||
|
娠 |
顎 |
|||
|
P |
鳴 |
|||
|
択 |
析 |
|||
|
斬 |
||||
|
箸 |
||||
|
紀 |
菊 |
|||
|
丹 |
円 |
|||
|
周 |
||||
|
藩 |
||||
|
拍 |
摯 |
|||
|
級 |
爪 |
|||
|
浄 |
汰 |
|||
|
拓 |
晴 |
|||
|
敏 |
||||
|
候 |
至 |
|||
|
閥 |
||||
|
塊 |
||||
|
閉 |
||||
|
服 |
||||
|
雲 |
||||
|
曇 |
協 |
|||
|
督 |
粗 |
|||
|
繭 |
||||
|
典 |
棺 |
|||
|
銭 |
寒 |
|||
|
陥 |
襟 |
|||
|
僚 |
衝 |
|||
|
色 |
彩 |
|||
|
欄 |
||||
|
脊 |
||||
|
来 |
綻 |
|||
|
庸 |
||||
|
帥 |
戒 |
|||
|
始 |
委 |
|||
|
庶 |
朋 |
|||
|
社 |
比 |
|||
|
賠 |
||||
|
編 |
了 |
|||
|
輩 |
||||
|
凹 |
隠 |
|||
|
濃 |
想 |
|||
|
就 |
兼 |
|||
|
弔 |
||||
|
菓 |
叙 |
|||
|
抗 |
||||
|
儒 |
錯 |
|||
|
凝 |
賀 |
|||
|
推 |
関 |
|||
|
諾 |
考 |
|||
|
託 |
慰 |
|||
|
伴 |
謀 |
|||
|
恒 |
憲 |
|||
|
諮 |
喫 |
|||
|
遂 |
触 |
|||
|
容 |
争 |
|||
|
続 |
械 |
|||
|
較 |
轄 |
|||
|
便 |
凸 |
|||
|
搬 |
炊 |
|||
|
冷 |
||||
|
銅 |
||||
|
写 |
索 |
|||
|
奥 |
隅 |
|||
|
礎 |
||||
|
正 |
||||
|
廊 |
粧 |
|||
|
舎 |
綿 |
|||
|
貌 |
国 |
|||
|
邦 |
郡 |
|||
|
勇 |
廷 |
|||
|
庭 |
蔽 |
|||
|
貪 |
牛 |
|||
|
丑 |
臆 |
|||
|
工 |
||||
|
塾 |
狭 |
|||
|
鶴 |
墜 |
|||
|
造 |
江 |
|||
|
紋 |
||||
|
犯 |
||||
|
紅 |
批 |
|||
|
辻 |
||||
|
烏 |
||||
|
込 |
||||
|
冠 |
朴 |
|||
|
酷 |
崩 |
|||
|
泣 |
璃 |
|||
|
培 |
||||
|
杯 |
流 |
|||
|
歴 |
呪 |
|||
|
幕 |
切 |
|||
|
筒 |
D
|
細 |
||||
|
酪 |
損 |
|||
|
湿 |
舞 |
|||
|
危 |
敢 |
|||
|
闇 |
暗 |
|||
|
繕 |
矢 |
|||
|
娘 |
日 |
|||
|
暁 |
昼 |
|||
|
死 |
旬 |
|||
|
朽 |
亡 |
|||
|
欺 |
決 |
|||
|
衰 |
飾 |
|||
|
耗 |
奉 |
|||
|
勲 |
深 |
|||
|
鹿 |
||||
|
負 |
衛 |
|||
|
譲 |
潰 |
|||
|
堕 |
度 |
|||
|
議 |
微 |
|||
|
旨 |
歓 |
|||
|
届 |
洪 |
|||
|
妄 |
需 |
|||
|
壊 |
洞 |
|||
|
逝 |
科 |
|||
|
預 |
窪 |
|||
|
嘲 |
降 |
|||
|
昆 |
柄 |
|||
|
机 |
乏 |
|||
|
滅 |
離 |
|||
|
詳 |
留 |
|||
|
定 |
||||
|
露 |
斜 |
|||
|
径 |
菱 |
|||
|
痢 |
||||
|
違 |
||||
|
難 |
掘 |
|||
|
堤 |
脹 |
|||
|
勤 |
薄 |
|||
|
膳 |
方 |
|||
|
司 |
||||
|
汚 |
災 |
|||
|
捨 |
発 |
|||
|
修 |
啓 |
|||
|
慌 |
絶 |
|||
|
謹 |
識 |
|||
|
談 |
皿 |
|||
|
嫌 |
遣 |
|||
|
呈 |
処 |
|||
|
S |
融 |
|||
|
遠 |
差 |
|||
|
紛 |
愁 |
|||
|
配 |
妨 |
|||
|
堀 |
剖 |
|||
|
為 |
||||
|
医 |
誌 |
|||
|
犬 |
||||
|
(戌) |
||||
|
飼 |
着 |
|||
|
丼 |
戸 |
|||
|
扉 |
寮 |
|||
|
剤 |
致 |
|||
|
倍 |
||||
|
疑 |
||||
|
博 |
稿 |
|||
|
竜 |
||||
|
辰 |
劇 |
|||
|
寄 |
怖 |
|||
|
夢 |
漂 |
|||
|
飲 |
滴 |
|||
|
駆 |
垂 |
|||
|
乾 |
没 |
|||
|
溺 |
睡 |
|||
|
鼓 |
||||
|
酔 |
干 |
|||
|
鈍 |
||||
|
複 |
役 |
|||
|
住 |
減 |
|||
|
染 |
E
|
各 |
耳 |
|||
|
穂 |
早 |
|||
|
稼 |
||||
|
東 |
易 |
|||
|
食 |
宇 |
|||
|
響 |
悦 |
|||
|
端 |
詔 |
|||
|
旺 |
卵 |
|||
|
我 |
八 |
|||
|
肘 |
||||
|
兄 |
姉 |
|||
|
選 |
電 |
|||
|
素 |
象 |
|||
|
詮 |
逸 |
|||
|
辱 |
抱 |
|||
|
卓 |
感 |
|||
|
皇 |
雇 |
|||
|
員 |
后 |
|||
|
空 |
倣 |
|||
|
郭 |
遭 |
|||
|
励 |
侵 |
|||
|
終 |
忍 |
|||
|
敵 |
英 |
|||
|
刻 |
悟 |
|||
|
籍 |
入 |
|||
|
興 |
誘 |
|||
|
臓 |
嘱 |
|||
|
絡 |
羨 |
|||
|
辺 |
疫 |
|||
|
嫉 |
匹 |
|||
|
騎 |
衡 |
|||
|
備 |
架 |
|||
|
噴 |
逃 |
|||
|
様 |
設 |
|||
|
尚 |
等 |
|||
|
永 |
倫 |
|||
|
欧 |
避 |
|||
|
評 |
平 |
|||
|
夕 |
汐 |
|||
|
毎 |
遍 |
|||
|
証 |
校 |
|||
|
検 |
例 |
|||
|
秀 |
佳 |
|||
|
替 |
除 |
|||
|
免 |
勉 |
|||
|
尽 |
奨 |
|||
|
在 |
出 |
|||
|
伸 |
費 |
|||
|
師 |
説 |
|||
|
績 |
披 |
|||
|
妙 |
程 |
|||
|
消 |
抄 |
|||
|
末 |
extremity |
目 |
||
|
眼 |
||||
|
眉 |
F
|
築 |
顔 |
|||
|
仰 |
謄 |
|||
|
派 |
敗 |
|||
|
幽 |
信 |
|||
|
落 |
偽 |
|||
|
紋 |
氏 |
|||
|
扇 |
賃 |
|||
|
畑 |
魅 |
|||
|
括 |
脂 |
|||
|
命 |
||||
|
父 |
測 |
|||
|
恵 |
恐 |
|||
|
羽 |
||||
|
料 |
餌 |
|||
|
情 |
伐 |
|||
|
雌 |
塀 |
|||
|
酵 |
||||
|
肥 |
篤 |
|||
|
少 |
維 |
|||
|
田 |
猛 |
|||
|
闘 |
||||
|
姿 |
列 |
|||
|
孝 |
緻 |
|||
|
指 |
||||
|
済 |
||||
|
火 |
||||
|
薪 |
初 |
|||
|
魚 |
乙 |
|||
|
漁 |
||||
|
拳 |
||||
|
合 |
五 |
|||
|
旗 |
||||
|
軒 |
||||
|
味 |
||||
|
翻 |
||||
|
浮 |
||||
|
群 |
||||
|
粉 |
||||
|
栄 |
||||
|
花 |
瓶 |
|||
|
液 |
笛 |
|||
|
飛 |
||||
|
省 |
霧 |
|||
|
折 |
随 |
|||
|
翌 |
好 |
|||
|
愚 |
||||
|
麓 |
履 |
|||
|
拠 |
||||
|
勢 |
渉 |
|||
|
額 |
森 |
|||
|
鍛 |
忘 |
|||
|
曽 |
占 |
|||
|
養 |
四 |
|||
|
薫 |
枠 |
|||
|
放 |
貨 |
|||
|
鮮 |
友 |
|||
|
戯 |
frolic |
乃 |
||
|
扉 |
前 |
|||
|
霜 |
凍 |
|||
|
倹 |
果 |
|||
|
満 |
基 |
fundamentals |
||
|
毛 |
fur |
|||
|
畝 |
G
|
得 |
胆 |
|||
|
賭 |
猟 |
|||
|
苑 |
||||
|
衣 |
門 |
|||
|
集 |
羅 |
|||
|
璧 |
総 |
|||
|
世 |
創 |
|||
|
|
才 |
|||
|
妥 |
士 |
|||
|
純 |
菌 |
|||
|
鬼 |
巨 |
|||
|
桁 |
趣 |
|||
|
呉 |
腺 |
|||
|
鬱 |
||||
|
彙 |
艶 |
|||
|
碁 |
||||
|
遡 |
||||
|
仲 |
倉 |
|||
|
神 |
行 |
|||
|
金 |
||||
|
去 |
良 |
|||
|
吉 |
品 |
|||
|
款 |
峡 |
|||
|
庁 |
采 |
|||
|
恩 |
淑 |
|||
|
雅 |
段 |
|||
|
徐 |
卒 |
|||
|
賂 |
粒 |
|||
|
沙 |
||||
|
孫 |
賜 |
|||
|
把 |
草 |
|||
|
笹 |
||||
|
擦 |
墓 |
|||
|
傑 |
||||
|
緑 |
磨 |
|||
|
握 |
探 |
|||
|
地 |
||||
|
|
墾 |
|||
|
団 |
林 |
|||
|
更 |
||||
|
怨 |
守 |
|||
|
察 |
客 |
|||
|
導 |
||||
|
罪 |
湾 |
|||
|
銃 |
||||
|
舷 |
溝 |
|||
|
奴 |
H
|
冥 |
俳 |
|||
|
髪 |
||||
|
hair, lock of |
||||
|
矛 |
半 |
|||
|
堂 |
||||
|
停 |
手 |
|||
|
扱 |
||||
|
掛 |
||||
|
幅 |
憬 |
|||
|
故 |
幸 |
|||
|
港 |
窮 |
|||
|
固 |
卯 |
|||
|
害 |
和 |
|||
|
琴 |
穫 |
|||
|
笠 |
||||
|
憎 |
津 |
|||
|
綱 |
||||
|
彼 |
||||
|
頭 |
頂 |
|||
|
岬 |
捗 |
|||
|
療 |
癒 |
|||
|
健 |
聞 |
|||
|
審 |
心 |
|||
|
炉 |
||||
|
熱 |
天 |
|||
|
重 |
垣 |
|||
|
覇 |
阪 |
|||
|
嗣 |
||||
|
助 |
裾 |
|||
|
麻 |
仙 |
|||
|
匿 |
堆 |
|||
|
陛 |
丘 |
|||
|
塚 |
障 |
|||
|
枢 |
史 |
|||
|
当 |
喝 |
|||
|
亥 |
揚 |
|||
|
持 |
穴 |
|||
|
璧 |
聖 |
|||
|
宅 |
邦 |
|||
|
帰 |
郷 |
|||
|
蜜 |
御 |
|||
|
酎 |
||||
|
勾 |
||||
|
跳 |
希 |
|||
|
涯 |
緯 |
|||
|
馬 |
栃 |
|||
|
(午) |
||||
|
湯 |
||||
|
宵 |
||||
|
家 |
幾 |
|||
|
但 |
擁 |
|||
|
仁 |
||||
|
羞 |
慎 |
|||
|
隆 |
百 |
|||
|
億 |
飢 |
|||
|
狩 |
猟 |
|||
|
急 |
夫 |
|||
|
殻 |
I
|
吾 |
||||
|
氷 |
意 |
|||
|
病 |
照 |
|||
|
模 |
稚 |
|||
|
頓 |
浸 |
|||
|
拶 |
授 |
|||
|
詔 |
勅 |
|||
|
璽 |
中 |
|||
|
前 |
||||
|
香 |
含 |
|||
|
収 |
||||
|
増 |
被 |
|||
|
徴 |
藍 |
|||
|
個 |
幼 |
|||
|
劣 |
||||
|
炎 |
騰 |
|||
|
継 |
墨 |
|||
|
填 |
衷 |
|||
|
宿 |
尋 |
|||
|
銘 |
虫 |
|||
|
挿 |
内 |
|||
|
視 |
院 |
|||
|
即 |
却 |
|||
|
訓 |
罵 |
|||
|
賢 |
志 |
|||
|
相 |
遮 |
|||
|
換 |
葬 |
|||
|
釈 |
那 |
|||
|
間 |
遇 |
|||
|
腸 |
睦 |
|||
|
威 |
紹 |
|||
|
勘 |
必 |
|||
|
逆 |
査 |
|||
|
鉄 |
銑 |
|||
|
沃 |
島 |
|||
|
隔 |
伊 |
|||
|
箇 |
J
|
介 |
||||
|
桂 |
||||
|
妬 |
玉 |
|||
|
圭 |
併 |
|||
|
往 |
慶 |
|||
|
桂 |
判 |
|||
|
踊 |
徒 |
|||
|
領 |
是 |
|||
|
童 |
K
|
鍵 |
||||
|
蹴 |
拐 |
|||
|
腎 |
殺 |
|||
|
窯 |
王 |
|||
|
膝 |
||||
|
知 |
韓 |
|||
|
葛 |
L
|
労 |
欠 |
|||
|
漆 |
彦 |
|||
|
勺 |
婦 |
|||
|
潟 |
荒 |
|||
|
湖 |
悼 |
|||
|
灯 |
||||
|
陸 |
||||
|
大 |
阜 |
|||
|
嬢 |
更 |
|||
|
笑 |
濯 |
|||
|
惰 |
鉛 |
|||
|
将 |
葉 |
|||
|
漏 |
傾 |
|||
|
躍 |
習 |
|||
|
革 |
講 |
|||
|
左 |
足 |
|||
|
嫡 |
||||
|
閑 |
||||
|
貸 |
丈 |
|||
|
張 |
楷 |
|||
|
均 |
賦 |
|||
|
淫 |
允 |
|||
|
蓋 |
||||
|
詐 |
寝 |
|||
|
生 |
軽 |
|||
|
蛍 |
如 |
|||
|
肢 |
||||
|
限 |
||||
|
線 |
||||
|
陳 |
系 |
|||
|
布 |
舶 |
|||
|
唇 |
聴 |
|||
|
小 |
暮 |
|||
|
活 |
肝 |
|||
|
畜 |
載 |
|||
|
場 |
錠 |
|||
|
理 |
腰 |
|||
|
寂 |
長 |
|||
|
久 |
距 |
|||
|
寿 |
欲 |
|||
|
顧 |
臨 |
|||
|
漫 |
主 |
|||
|
失 |
痩 |
|||
|
譲 |
愛 |
|||
|
麗 |
低 |
|||
|
卑 |
忠 |
|||
|
澄 |
吉 |
|||
|
材 |
狂 |
|||
|
肺 |
繁 |
|||
M
|
製 |
||||
|
磁 |
||||
|
郵 |
||||
|
朕 |
作 |
|||
|
商 |
捗 |
|||
|
雄 |
母 |
|||
|
男 |
||||
|
操 |
||||
|
掌 |
癖 |
|||
|
多 |
幾 |
|||
|
図 |
||||
|
瑠 |
市 |
|||
|
販 |
侯 |
|||
|
婚 |
髄 |
|||
|
嫁 |
沼 |
|||
|
殉 |
面 |
|||
|
衆 |
畳 |
|||
|
姻 |
事 |
|||
|
陵 |
僕 |
|||
|
原 |
飯 |
|||
|
寸 |
升 |
|||
|
肉 |
||||
|
機 |
媒 |
|||
|
薬 |
凡 |
|||
|
meeting |
会 |
|||
|
憂 |
熟 |
|||
|
朗 |
瓜 |
|||
|
溶 |
膜 |
|||
|
覚 |
||||
|
述 |
慈 |
|||
|
効 |
勲 |
|||
|
冶 |
||||
|
I |
法 |
|||
|
都 |
宙 |
|||
|
尉 |
||||
|
乳 |
擬 |
|||
|
鉱 |
||||
|
交 |
||||
|
鏡 |
雑 |
|||
|
喪 |
||||
|
誤 |
||||
|
混 |
餅 |
|||
|
塑 |
遜 |
|||
|
刹 |
||||
|
猿 |
||||
|
(申) |
匁 |
|||
|
月 |
||||
|
弥 |
||||
|
且 |
朝 |
|||
|
臼 |
||||
|
蚊 |
型 |
|||
|
岡 |
山 |
|||
|
麓 |
||||
|
峠 |
渓 |
|||
|
忌 |
口 |
|||
|
動 |
殿 |
|||
|
泥 |
桑 |
|||
|
府 |
||||
|
筋 |
楽 |
|||
|
奏 |
譜 |
|||
|
互 |
||||
|
俺 |
玄 |
N
|
捉 |
||||
|
裸 |
名 |
|||
|
氏 |
奈 |
|||
|
旗 |
誕 |
|||
|
航 |
紺 |
|||
|
近 |
首 |
|||
|
要 |
||||
|
針 |
否 |
|||
|
不 |
怠 |
|||
|
隣 |
巣 |
|||
|
網 |
新 |
|||
|
児 |
次 |
|||
|
号 |
凄 |
|||
|
夜 |
旦 |
|||
|
晩 |
九 |
|||
|
硝 |
第 |
|||
|
節 |
謡 |
|||
|
麺 |
午 |
|||
|
北 |
||||
|
鼻 |
||||
|
勿 |
未 |
|||
|
帳 |
無 |
|||
|
掲 |
滋 |
|||
|
今 |
核 |
|||
|
萎 |
数 |
|||
|
尼 |
O
|
柏 |
椎 |
|||
|
肪 |
||||
|
順 |
訃 |
|||
|
昧 |
瞭 |
|||
|
際 |
営 |
|||
|
洋 |
之 |
|||
|
庁 |
||||
|
献 |
吏 |
|||
|
尉 |
油 |
|||
|
君 |
老 |
|||
|
翁 |
||||
|
古 |
婆 |
|||
|
旧 |
昔 |
|||
|
一 |
自 |
|||
|
片 |
只 |
|||
|
泌 |
開 |
|||
|
沖 |
又 |
|||
|
諧 |
||||
|
令 |
整 |
|||
|
孤 |
他 |
|||
|
須 |
暴 |
|||
|
概 |
||||
|
観 |
外 |
|||
|
郊 |
||||
|
統 |
||||
|
克 |
過 |
|||
|
濫 |
茂 |
|||
|
泊 |
豪 |
|||
|
監 |
倒 |
|||
P
|
詰 |
||||
|
畔 |
頁 |
|||
|
塔 |
痛 |
|||
|
塗 |
||||
|
双 |
柵 |
|||
|
汎 |
紙 |
|||
|
項 |
逓 |
|||
|
燥 |
赦 |
|||
|
親 |
園 |
|||
|
駐 |
分 |
|||
|
偏 |
||||
|
殊 |
頒 |
|||
|
侶 |
詞 |
|||
|
党 |
彰 |
|||
|
路 |
哀 |
|||
|
巡 |
範 |
|||
|
桐 |
亭 |
|||
|
払 |
伺 |
|||
|
泰 |
桃 |
|||
|
峠 |
梨 |
|||
|
珠 |
台 |
|||
|
剥 |
||||
|
皮 |
懲 |
|||
|
罰 |
徹 |
|||
|
民 |
||||
|
完 |
||||
|
演 |
伎 |
|||
|
芳 |
期 |
|||
|
許 |
||||
|
柿 |
人 |
|||
|
係 |
勧 |
|||
|
覧 |
願 |
|||
|
幻 |
哲 |
|||
|
句 |
採 |
|||
|
拾 |
漬 |
|||
|
絵 |
貫 |
|||
|
孝 |
銑 |
|||
|
鳩 |
||||
|
堆 |
||||
|
柱 |
枕 |
|||
|
摘 |
松 |
|||
|
慕 |
||||
|
管 |
坑 |
|||
|
闇 |
惜 |
|||
|
所 |
頂 |
|||
|
置 |
胞 |
|||
|
野 |
||||
|
案 |
削 |
|||
|
板 |
植 |
|||
|
稲 |
栽 |
|||
|
遊 |
奏 |
|||
|
愉 |
契 |
|||
|
計 |
||||
|
抽 |
栓 |
|||
|
窒 |
梅 |
|||
|
太 |
朕 |
|||
|
懐 |
壇 |
|||
|
詩 |
岳 |
|||
|
鋭 |
毒 |
|||
|
極 |
||||
|
研 |
政 |
|||
|
池 |
駒 |
|||
|
唄 |
豚 |
|||
|
携 |
兆 |
|||
|
有 |
||||
|
職 |
貼 |
|||
|
逓 |
構 |
|||
|
鍋 |
瓶 |
|||
|
芋 |
||||
|
陶 |
注 |
|||
|
貧 |
力 |
|||
|
痘 |
練 |
|||
|
褒 |
祈 |
|||
|
貴 |
険 |
|||
|
序 |
県 |
|||
|
妊 |
現 |
|||
|
贈 |
圧 |
|||
|
既 |
値 |
|||
|
僧 |
姫 |
|||
|
刷 |
版 |
|||
|
獄 |
私 |
|||
|
賞 |
赴 |
|||
|
宣 |
産 |
|||
|
業 |
利 |
|||
|
禁 |
延 |
|||
|
約 |
崎 |
|||
|
耐 |
財 |
|||
|
割 |
提 |
|||
|
昌 |
伏 |
|||
|
保 |
仮 |
|||
|
糧 |
慮 |
|||
|
公 |
刊 |
|||
|
引 |
刑 |
|||
|
瞳 |
||||
|
清 |
||||
|
斎 |
紫 |
|||
|
逐 |
||||
|
押 |
||||
|
掲 |
Q
|
震 |
困 |
|||
|
量 |
||||
|
准 |
妃 |
|||
|
問 |
速 |
|||
|
静 |
罷 |
|||
R
|
輝 |
||||
|
雨 |
||||
|
虹 |
挙 |
|||
|
(未) |
||||
|
域 |
位 |
|||
|
疾 |
瀬 |
|||
|
珍 |
寧 |
|||
|
(子) |
率 |
|||
|
光 |
戻 |
|||
|
及 |
読 |
|||
|
実 |
刈 |
|||
|
諭 |
||||
|
享 |
憩 |
|||
|
詠 |
||||
|
憶 |
薦 |
|||
|
録 |
娯 |
|||
|
募 |
矯 |
|||
|
赤 |
||||
|
荻 |
礁 |
|||
|
精 |
映 |
|||
|
改 |
涼 |
|||
|
隊 |
簿 |
|||
|
秩 |
治 |
|||
|
斥 |
喜 |
|||
|
戚 |
安 |
|||
|
依 |
宗 |
|||
|
残 |
骸 |
|||
|
憾 |
悠 |
|||
|
撤 |
破 |
|||
|
著 |
諦 |
|||
|
償 |
酬 |
|||
|
頻 |
拒 |
|||
|
悔 |
報 |
|||
|
抑 |
排 |
|||
|
誉 |
求 |
|||
|
究 |
肖 |
|||
|
恨 |
居 |
|||
|
邸 |
辞 |
|||
|
抵 |
||||
|
恭 |
伺 |
|||
|
任 |
休 |
|||
|
復 |
臣 |
|||
|
退 |
返 |
|||
|
告 |
尊 |
|||
|
閲 |
蔑 |
|||
|
訂 |
転 |
|||
|
韻 |
律 |
|||
|
里 |
米 |
|||
|
田 |
||||
|
稲 |
||||
|
謎 |
乗 |
|||
|
畔 |
棟 |
|||
|
慢 |
右 |
|||
|
義 |
厘 |
|||
|
環 |
乱 |
|||
|
昇 |
||||
|
旭 |
冒 |
|||
|
祭 |
河 |
|||
|
道 |
||||
|
煎 |
奪 |
|||
|
壮 |
||||
|
棒 |
||||
|
恋 |
屋 |
|||
|
室 |
根 |
|||
|
縄 |
腐 |
|||
|
旋 |
丸 |
|||
|
起 |
途 |
|||
|
並 |
艇 |
|||
|
漕 |
抹 |
|||
|
慨 |
則 |
|||
|
走 |
沿 |
|||
|
軌 |
S
|
剣 |
||||
|
袋 |
犠 |
|||
|
牲 |
悲 |
|||
|
護 |
俊 |
|||
|
帆 |
酒 |
|||
|
給 |
||||
|
唾 |
塩 |
|||
|
礼 |
救 |
|||
|
同 |
||||
|
砂 |
沙 |
|||
|
挟 |
康 |
|||
|
帯 |
飽 |
|||
|
貯 |
||||
|
言 |
曰 |
|||
|
桟 |
||||
|
痕 |
||||
|
散 |
||||
|
景 |
策 |
|||
|
塾 |
||||
|
叱 |
譜 |
|||
|
侮 |
||||
|
記 |
巻 |
|||
|
幅 |
海 |
|||
|
沖 |
浜 |
|||
|
封 |
璽 |
|||
|
綻 |
||||
|
捜 |
季 |
|||
|
席 |
藻 |
|||
|
秒 |
||||
|
密 |
秘 |
|||
|
部 |
召 |
|||
|
見 |
苗 |
|||
|
沸 |
獲 |
|||
|
己 |
謙 |
|||
|
恣 |
売 |
|||
|
準 |
還 |
|||
|
送 |
文 |
|||
|
別 |
循 |
|||
|
据 |
措 |
|||
|
放 |
納 |
|||
|
七 |
断 |
|||
|
縫 |
性 |
|||
|
陰 |
影 |
|||
|
振 |
尺 |
|||
|
浅 |
||||
|
恥 |
||||
|
形 |
||||
|
羊 |
枚 |
|||
|
棚 |
||||
|
貝 |
||||
|
盾 |
移 |
|||
|
昭 |
脚 |
|||
|
宮 |
船 |
|||
|
串 |
靴 |
|||
|
射 |
舗 |
|||
|
短 |
肩 |
|||
|
担 |
叫 |
|||
|
挨 |
||||
|
示 |
||||
|
宮 |
詣 |
|||
|
縮 |
慄 |
|||
|
鎌 |
||||
|
側 |
||||
|
横 |
||||
|
嘆 |
||||
|
酉 |
丑 |
|||
|
(戌) |
辰 |
|||
|
卯 |
亥 |
|||
|
(午) |
(申) |
|||
|
(未) |
(子) |
|||
|
巳 |
寅 |
|||
|
署 |
標 |
|||
|
黙 |
||||
|
絹 |
蚕 |
|||
|
銀 |
||||
|
似 |
単 |
|||
|
簡 |
誠 |
|||
|
独 |
沈 |
|||
|
漢 |
紳 |
|||
|
姉 |
妹 |
|||
|
座 |
||||
|
六 |
骨 |
|||
|
描 |
技 |
|||
|
膚 |
裳 |
|||
|
緩 |
撲 |
|||
|
隷 |
||||
|
眠 |
袖 |
|||
|
繊 |
||||
|
抜 |
滑 |
|||
|
坂 |
遅 |
|||
|
鈴 |
砕 |
|||
|
煙 |
||||
|
蛇 |
巳 |
|||
|
撮 |
||||
|
H |
雪 |
|||
|
某 |
懇 |
|||
|
軟 |
土 |
|||
|
兵 |
唯 |
|||
|
粛 |
請 |
|||
|
答 |
身 |
|||
|
者 |
郎 |
|||
|
歌 |
唄 |
|||
|
類 |
然 |
|||
|
魂 |
音 |
|||
|
汁 |
源 |
|||
|
南 |
帝 |
|||
|
亘 |
||||
|
暇 |
||||
|
晶 |
||||
|
申 |
||||
|
特 |
専 |
|||
|
種 |
鑑 |
|||
|
斑 |
||||
|
詞 |
圏 |
|||
|
辛 |
||||
|
脊 |
錘 |
|||
|
呂 |
紡 |
|||
|
梗 |
気 |
|||
|
霊 |
吐 |
|||
|
沫 |
華 |
|||
|
裂 |
催 |
|||
|
匕 |
||||
|
点 |
挫 |
|||
|
敷 |
泉 |
|||
|
春 |
||||
|
偵 |
班 |
|||
|
圭 |
搾 |
|||
|
突 |
||||
|
滞 |
茎 |
|||
|
印 |
||||
|
立 |
規 |
|||
|
星 |
眺 |
|||
|
餓 |
州 |
|||
|
駅 |
||||
|
K |
像 |
|||
|
背 |
格 |
|||
|
状 |
漸 |
|||
|
盗 |
窃 |
|||
|
蒸 |
鋼 |
|||
|
踏 |
厳 |
|||
|
粘 |
||||
|
硬 |
促 |
|||
|
臭 |
俸 |
|||
|
奮 |
株 |
|||
|
胃 |
石 |
|||
|
止 |
店 |
|||
|
蔵 |
嵐 |
|||
|
階 |
直 |
|||
|
渚 |
奇 |
|||
|
絞 |
層 |
|||
|
縄 |
||||
|
川 |
渓 |
|||
|
丁 |
||||
|
堅 |
打 |
|||
|
強 |
||||
|
頑 |
学 |
|||
|
痴 |
剛 |
|||
|
式 |
征 |
|||
|
潜 |
供 |
|||
|
購 |
質 |
|||
|
代 |
畿 |
|||
|
吸 |
哺 |
|||
|
訟 |
苦 |
|||
|
糖 |
適 |
|||
|
硫 |
暑 |
|||
|
夏 |
峰 |
|||
|
旭 |
||||
|
|
陽 |
|||
|
冗 |
宰 |
|||
|
補 |
存 |
|||
|
表 |
姓 |
|||
|
越 |
剰 |
|||
|
囲 |
懸 |
|||
|
怪 |
経 |
|||
|
沢 |
汗 |
|||
|
掃 |
甘 |
|||
|
椎 |
膨 |
|||
|
迅 |
泳 |
|||
|
揺 |
刀 |
|||
|
症 |
制 |
T
|
札 |
||||
|
尾 |
||||
|
裁 |
取 |
|||
|
連 |
話 |
|||
|
高 |
||||
|
唐 |
租 |
|||
|
務 |
||||
|
房 |
畳 |
|||
|
税 |
茶 |
|||
|
教 |
||||
|
涙 |
芸 |
|||
|
錬 |
寺 |
|||
|
暫 |
唆 |
|||
|
十 |
万 |
|||
|
執 |
柔 |
|||
|
優 |
緊 |
|||
|
試 |
肌 |
|||
|
厚 |
||||
|
股 |
淡 |
|||
|
物 |
思 |
|||
|
丙 |
渇 |
|||
|
緒 |
刺 |
|||
|
千 |
糸 |
|||
|
脅 |
三 |
|||
|
喉 |
投 |
|||
|
雷 |
阻 |
|||
|
券 |
潮 |
|||
|
結 |
虎 |
|||
|
寅 |
締 |
|||
|
瓦 |
耕 |
|||
|
樹 |
時 |
|||
|
暇 |
回 |
|||
|
缶 |
弄 |
|||
|
疲 |
共 |
|||
|
努 |
符 |
|||
|
寛 |
墳 |
|||
|
碑 |
冊 |
|||
|
舌 |
||||
|
余 |
||||
|
具 |
歯 |
|||
|
題 |
亀 |
|||
|
拷 |
接 |
|||
|
巾 |
閣 |
|||
|
村 |
玩 |
|||
|
跡 |
||||
|
貿 |
通 |
|||
|
踪 |
稽 |
|||
|
鎮 |
超 |
|||
|
渡 |
遷 |
|||
|
訳 |
伝 |
|||
|
透 |
輸 |
|||
|
盤 |
践 |
|||
|
宝 |
木 |
|||
|
幹 |
梢 |
|||
|
甚 |
族 |
|||
|
貢 |
||||
|
僅 |
旅 |
|||
|
悩 |
真 |
|||
|
胴 |
幹 |
|||
|
縛 |
頼 |
|||
|
腫 |
調 |
|||
|
芝 |
||||
|
番 |
||||
|
成 |
||||
|
牙 |
廿 |
|||
|
条 |
糾 |
|||
|
二 |
||||
|
坪 |
虐 |
U
|
醜 |
||||
|
傘 |
非 |
|||
|
叔 |
曖 |
|||
|
異 |
潔 |
|||
|
企 |
脱 |
|||
|
展 |
||||
|
普 |
||||
|
厄 |
解 |
|||
|
変 |
嚇 |
|||
|
貞 |
勃 |
|||
|
|
遡 |
|||
|
迫 |
尿 |
|||
|
使 |
常 |
|||
|
器 |
用 |
|||
|
最 |
V
|
漠 |
||||
|
谷 |
価 |
|||
|
弁 |
汽 |
|||
|
諸 |
||||
|
弘 |
槽 |
|||
|
菜 |
||||
|
脈 |
翁 |
|||
|
験 |
朱 |
|||
|
吟 |
縦 |
|||
|
隻 |
摂 |
|||
|
副 |
勝 |
|||
|
競 |
荘 |
|||
|
町 |
凶 |
|||
|
蔦 |
酢 |
|||
|
激 |
賓 |
|||
|
善 |
対 |
|||
|
参 |
詣 |
|||
|
声 |
濁 |
|||
|
虚 |
積 |
|||
|
誓 |
俗 |
|||